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CARBON PRINTING r^
E?
J/AVALL
'
/'
"
AUTHOR OF " THE DICTIONARY OF PHOTOGRAPHY."
IV/TB A
CHAPTER ON MR. THOS. MANLVS OZOTYPE" PROCESS ''
.
.MATEUR Photographer's Library, No.
8.]
SEVENTH EDITION
LONDON
HAZELL, WATSON & VINEY, 52, LONG ACRE, W.C. 1904
Ld.,
X
,^'
PrittUd by Haatll, Watson
iS-
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INDEX.
INTRODUCTION
4
Index. tiOtt
RIGID FINAL SUPPORTS
TRANSFERRING PRINTS TO OPAL
57
...
57
TRANSFERRING PRINTS TO GLASS, METAL, WOOD, IVORY, OR
ANY POLISHED SURFACE
.
,58
LANTERN SLIDES
59
FAILURES
62
RETOUCHING, SPOTTING, AND COLOURING CARBON PRINTS
66
«
ROUGH PAPER SUPPORTS
67
MATT SURFACE PRINTS
68
HISTORICAL AND PRACTICAL NOTES ON THE SIMPLE
CARBON PROCESS WITHOUT TRANSFER OZOTYPE
—A
NEW METHOD OF PIGMENT
.
78
PRINTING
90
s
CARBON PRINTING. INTRODUCTION. In order to make
The
Amiteur Photographer''
Library as complete as possible, this small work on
Carbon Printing has been written, the main object being to provide, in convenient form for reference,
and practical notes on the subject, and
historical is
it
hoped that
this
attention to this the
work may induce greater
most permanent of
all
printing
processes.
HISTORICAL NOTES. In 1798 Vauquelin
chromic
acid,
chromium and
discovered
and stated that the
nitrate of silver a carmine red
latter salt
purple red by the action of light.* •
" Sur
formed with
which turned
Eder
states f
une Nouvelle Substance Metallique," Annales de
Chimie, 1798, xxv., p. 21.
t
"Handbuch der Photographie," Band
" Ich
erinnere
daran,
Ponton
dass
5
i.,
1839,
Heft.
1, p.
offenbar
61.
an
6
Carbon Printing.
that he
believes
that
Mungo Ponton knew
of
Vauquelin's researches, and thns was led to discover the sensitiveness of the bichromate of potash in contact with paper.
In 1832, Dr. Gustav Suckow, Professor of Jena, published a work on " Die Chemischen Wirkungen des Lichtes," which contains the
statement that
bichromate of potash in contact with organic matter is
reduced by light and gives a green colour.*
In 1839,
Mungo Ponton f
discovered that ordinary
writing paper soaked in solution of bichromate of
potash was sensitive to light and turned brown in those parts exposed to the solar rays.
In
1840,
E.
Becquerel %
strongly sizing paper with
obtained starch and
prints
by
saturating
Vavquelin's Angabe auknupfend, die Lichtempfindlichkeit des Silberchromates photographisch verwerthen woUte und dabei die Lichtempfindlichkeit des
Kalium bichromates auf
Papier entdeckte." •
Eder's " Handbuch der Photographie,"
Band
Heft.
i.,
1,
which is as follows " Setzt man eine Auflosung von zweifach chromsaurem Kali und zweifach Schwefelsaurem Kali der Einwirkung des Sonnenlichtes aus und bestreut das efilorescirte Salz an verschiedenen Stellen mit gepulvertem Zucker, so bildet sich die schonste p. 95, gives the actual passage,
:
Moos vegetation. die Beleuchtung wird . Durch namlich in diesem Processe ein Theil des Saurestoffs der Chromsaiire ausgeschieden, so dass dadurch griines chromsauerliches Kali gebildet wird." farbige
t
Edm. New
.
.
Philos. Joxir., 1839, p. 169.
X Comptea Reiidua, x., p. 469.
7
Historical Notes.
same with bichromate of potash, exposing to
light
and treating the paper with tincture of
when
The
a blue image was obtained.
washed in water
some
prints were then
time, dried between
little
and treated with a varnish of
blotting-paper,
water.
for
iodine,
gum
Becquerel says in explanation, " Voici le
detail et I'explication de ce proc6d6
ayant employ^
:
differentes sortes de papiers enduits de bichromate, je reconnus qu'ils n'etaient pas tous aptes k produire
rapidement
dessins
les
;
que
influait sur leur coloration
du papier non
;
reaction
contenu dans
mode de
coll6 cette coloration
qu'k la longue
cipal
le
k la lumi^re,
le
ne
collage
et qu'avec s'effectuait
d^s lors je m'apergus que la prinavait
lieu
de
I'acide
chromique
bichromate sur I'amidon qui entrait
dans la colle du papier
;
alors
comme
I'amidon a
la
de former avec I'iode uue combinaison
propri6t6
d'un trhs beau bleu, je pensai que sur les parties du papier qui n'avaient pas 6t6 expos6es k Taction des
rayons
solaires,
I'amidon ne s'^tant pas combing
avec I'acide chromique, I'iode devait former I'iodure bleu et representer ainsi les ombres par des ombres."
Further
on Becquerel admits his inability to
obtain pictures in the camera j'ai
:
" Les
essais
tenths pour reproduire les images de la
obscure
au moyen de ce papier
que
chambre
impressionable,
n'ayant pas encore donn6 de r^sultats satisfaisants, je n'en entretiendrai pas
TAcad^mie."
8
Carbon Prvntirig. In August 1843, Hunt* suggested his chroma-
type
which
process,
consisted
of washing
good
writing-paper over with sulphate of copper in solution,
and then, when dry, with bichromate of potash and exposing to
solution,
Fox Talbot Academic
f in
des
light.
1853 addressed a
Sciences,
Paris,
letter to the
"
called
Gravure
Photographique sur I'Acier," in which he describes the use of gelatine impregnated with bichromate of potash for obtaining an image which could be
applied to a steel plate, developed, and the plate
etched with an etching liquid.
the
first
This
is
essentially
note of the property of chromatised gelatine
becoming insoluble
in light.
Pretsch in June 1855 utilised this property of
bichromated gelatine for various photo-mechanical processes
;
and Poitevin also worked on the same
lines.
But
to Poitevin t
must be given the honour of
being the actual inventor or discoverer of the carbon process proper
—that
is,
of the process of preparing
photographic prints by exposing a sheet of paper coated with bichromated gelatine, impregnated with
some colouring matter. •
Hunt's " Researches on Light," 1854,
Polytechnic Journal, xc, p. 413. Brit. Assoc.
Adv.
p.
175
;
Dingler's
Athenceum, 1843, No. 826
Scien., Section B., A.ug. 17th, 1843.
t Comptes Rendus, xxxv., p. 780. " Brevets de 1855." X
;
6
Historical Notes.
Whilst we acknowledge Poitevin as the pioneer
must not
it
for one
moment be supposed
was the inventor of the process. foundation, and others
He
that he
the
laid
improved and built upon
the foundation thus laid. Poitevin's prints were practically devoid of all half-tones, because the light
had acted more or
less
only on the surface of the bichromated gelatine, thus leaving the supporting portions soluble
and
;
they did, carrying away practically
dissolve
all
half-tone.
The cause of
this defect
was pointed out by Abb6
Laborde,* and confirmed by Fargier,t gested as a remedy the
who
sug-
placing of the paper in
contact with the negative, so that the light, having
passed
through
the
negative,
would also
pass
through the paper, and then act on the gelatine and render
The
it
insoluble,
and thus preserve the half-tones.
fault of this process
was obviously that the
grain of the paper was impressed on
To get over
this difficulty Fargier spread his bichro-
mated gelatine on
•
glass,
and when dry exposed to
under a negative, and then coated the film
light
a
the image.
" Bulletin de la Socidtd fran9aise
de Photographie," 1858,
213. **
Bulletin de la Societe fran9aise de Photographie," 1860,
p. 314.
—
Carbon Printing.
10
with collodion and placed the whole in cold water to swell
;
placed in
when
the film had absorbed water
warm
water, the gelatine not acted upon
it
by light was dissolved, and the image was floating
was
left
on the collodion film and could be trans-
Any
ferred to glass or paper.
of our readers
who
have stripped a negative in the ordinary way will
know
by no means a process which a rough
it is
or heavy-handed operator can use,
and the delicacy
of this process of Fargier's was against
its
general
use.
In 1857 M. Testud de Beauregard patented a process
somewhat similar
to
Poitevin's
;
but in
Beauregard's process the pigment was applied to the surface of the chromated gelatine (before expo-
mixed with
sure), not
it,
the idea being to keep the
whites pure.
In
1858 Mr. Pouncy showed
at
the London
Photographic Society some prints in carbon, but kept their method of preparation secret.
bury in a
letter *
Mr. Port-
claimed that Mr. Pouncy's prints
were produced by him when he was Mr. Pouncy's apprentice.
Subsequently Pouncy's process
patented, and the specification runs as follows
" I coat the paper or surface which
is
was :
to receive
the picture with a composition of vegetable carbon,
gum-arabic, and bichromate of potash, and on to •
Photographic New8, Nov. 23rd, 1860.
11
Historical Notes.
this prepared surface I place the negative picture,
and expose
to light in the usual way.
Afterwards
washed with water, which dissolves the composition at those parts on which the light
the surface
is
has not acted, but surface on
those parts of the
fails to affect
which the light has acted.
Consequently,
on those parts of the surface the colouring matter remains in the state in which
it
was applied, having
experienced no chemical change. the vegetable
carbon
other colouring matter
I
Sometimes
for
bitumen,
or
substitute
may be
employed.
By
this
process, pictures are not liable to fade like ordinary
I
photographs."
In 1858
MM. Gamier
and Salmon suggested a
powder process
sort of modified
in
which plumbago,
lampblack, or pigment in a fine state of division
was applied also
to the film.
Poitevin's,
M. Gabriel de Kumine
a somewhat
described
and M. Brebisson a
similar little
process
to
later proposed
a method of applying the colour after exposure. Seeley, editor of the American Journal of Photography, proposed the application of gum, carbon,
and bichromate hearing
that
it
to
paper, but
was
abandoned
previously
it
discovered
on
by
Poitevin.
In 1859 the Due de Luynes' prize of
£80
for a
process of producing permanent prints was divided
between Beauregard,
Gamier and
Salmon, and
—
Carbon Printing.
12
Pouncy, and the following
is
the report of the
"The common and primary
source, the unique
commission on this subject
germ of
:
we have
the processes, from which
all
selected those
which appeared to us worthy of
reward, that
to say, of all the carbon processes,
is
incontestably that of
quently, the is
is
common
A
M. Poitevin.
this.
M. Poitevin
and conse-
;
father of all these inventors
few words will convince you of
In the month of August 1855, M. Poitevin
deposited at the office of the Prefect of the Seine
the description of a process of photographic printing.
The 15th of February of the following modified
it
year,
on certain points, he brought
What, now, was
this
simple expression
?
it
having to you.
method reduced to its most In August 1855, application
on the paper of a mixture of bichromate of potash, organic substances, and colouring matter, at one before
operation,
operations
insolation.
we
presentation,
Beauregard
two
In both cases, washing in dis-
complete and
tilled water, to if
in
the organic
and the colouring matter or carbon
before,
after
Now
same substances, but
—to wit, the bichromate and
body
"
In February 1856,
insolation.
of the
application
fix
the proof.
follow the chronological order of the
what shall we see ? M. Testud de December 1857 communicated a
in
process to you of which the following
is
the reiumi :
;
13
Historical Notes.
the use of bichromate of potash, of an organic substance,
Only here
and colouring matter (carbon).
the complete preparation which always insolation
is
separated into two parts:
the carbon.
common
;
immer-
drying, and then the spreading of
After
washing
the
insolation,
The manipulation alone
water.
the principle
first,
mixture of bichromate and
sion of the paper in the
organic matter
precedes
in
varies
is identical.
" In January 1858 Mr. Sutton published a method of
obtaining
exactly
the
durable
positives;
this
method, for
Poitevin
nothing more than this
it
again
was
contained
application on the paper
:
of a mixture of bichromate of potash, organic substance,
and pulverised charcoal, drying,
and washing. an alkaline
On
his
solution
insolation,
own
part Mr. Sutton added
for
clearing
the
image
if
necessary.
"
The 10th of
April, 1858, Mr.
Pouncy took out
a patent in England, which was not published in that country
till
November, and
the following month. elements,
we
If
we
in our Bulletin till
isolate the constituent
find in substance application
on the
paper of a mixture of bichromate of potash, arabic,
and vegetable charcoal,
before insolation
;
gum-
in a single operation
afterwards washing in distilled
water.
" Finally, to conclude this long review, on the
—
14
Carbon Printing.
30th of June,
1858,
MM.
Garnier and Salmon
deposited in the hands of your secretary a paper
containing a process which, more or less modified
by them
in the interval,
led to our
being made
which
the nse of
experiments
witnesses of
in
of an organic body, and of
alkaline bichromate,
carbon, reproduced with more or less trifling variations a series of causes
and
effects
existed, each of these
vented
it.
Is
it
—
so that we might M. Poitevin had not
type in M. Poitevin's process
almost say in truth that,
which had their
if
gentlemen would have
we ask
possible,
you,
in
in-
the
presence of this severe but impartial analysis, to
deny that these products of different origins ought all to
And
common
bear in some sort a
if
we give prominence
to
some
trade
mark
?
in our photo-
graphic world by stamping them with a seal of honour, means should be found of associating very
prominently, and even in the foremost place, the
name
of the initiator."
Poitevin,
it
seems, had also recognised the defect
in the carbon process
and
its
cause.*
In 1858 Burnett,! in speaking of this subject, says
:
" It •
'•
must be observed that the
Traits
d'Argent,"
de
I'lmpression
Photographique
p. 71.
t Joum. Phot. Soc,
possibility
vol. v., p. 84.
sans
of Sel
16
Historical Notes.
by
producing half-tones
power
the
of
this
insolubility
penetrate, with
plan rests on the
— causing
actinism
a certain degree of
facility,
to
the
mixture of pigment with bichromate and gelatine or
gum, the
gelatine or
gum
being in consequence
rendered insoluble, to a greater or less depth on different parts of the picture according to the vary-
ing depth to which the actinism has been allowed or had time to penetrate
;
this, again,
being de-
pendent on the varying translucency of the different parts of the negative."
At
this period
ments and
Mr. Swan commenced his experi-
tried first of all coating a glass plate
with bichromated exposure the
gum
plate
and lampblack, and after
was washed with water
to
remove the unacted-upon gum. In 1859 Blair of Perth * independently recognised the cause of loss of half-tone in carbon printing.
Having applied bichromated gum and carbon paper,
to
he states that after exposure " the outer
was more sunned and hardened than the inner," and that by steeping the latter was washed
crust
away and
carried the outer with
it.
He
exposed through the paper, and tried
M. Joubert he
called
*
in 1859 discovered a process
" phototype,"
same appeared
therefore
wax
in the
and
examples
paper.
which of
the
Journal of the Photographic
"Photographic Notes,"
vol. iv., p. 331.
Carbon Printing.
16 Society for
June 1860, but no
details
were ever
published.
In 1863 Pouncy patented a process of producing pictures
fatty
in
bichromate,
inks by the aid of bitumen or
etc.
1864 Swan * made what was the greatest improvement and we may say the final improveIn
ment, for
all
since
have been merely matters of
was finally published by Swan, April 15th, 1864.t In a paper read before the Edinburgh Society in 1863, Mr. Davies stated
The
detail.
process
he had transferred carbon prints, but the details were not published
till
July
1864, after Swan's
process had been patented.
The best description of Swan's process is contained in his patent specification, which we give in its entirety.
"
My
invention relates to that
of photographic printing
ment
printing.
known
manner
or style
as carbon, or pig-
In this style of printing, carbon
or other colouring matter
is
fixed
by the action
of light passing through a negative, and impinging
upon a surface composed of
gelatine, or other like
substance, coloured with carbon or other colouring
matter, and
made
sensitive to light
by means of
bichromate of potash, or bichromate of ammonia, • Photc. Journal,
March
t Photc. News, 1864, p.
15th, 1864, p. 2. 86.
tl
Historical Notes. or other
chemical
graphic property
;
substance having like
photo-
those portions of the coloured
and sensitive gelatinous surface which are protected from the light by the opaque or semi-opaque portions of the negative being afterwards
washed away by
means of water, while the parts made insoluble by light remain, and form a print. This kind of photographic
although
printing,
possessing
the
advantage of permanency, and affording the means of insuring any print,
the difficulties
by
it
light
required tone or colour for the
has not come into general use, because of experienced in obtaining
hitherto
delicacy of detail, and complete gradation of
and shade.
" The difficulties referred to were larly experienced in attempts to
more particu-
employ paper coated
with the coloured gelatinous material, and arose
from the
fact that, in
order to obtain half-tone,
certain portions of the coloured coating lying behind
or at the back of the photographically impressed
portions
required to
employment of paper
be in
washed away, and the the
way
it
has
been
employed hitherto, not only as a means of supporting the
coloured
coating,
but also to form
ultimately the basis or groundwork of the print,
obstructed the removal of the inner or back portions
of the coloured coating, and prevented the obtaining of half-tone. 3
Carbon Printing.
18
my
" Now,
invention consists in the
and composed
to,
or
of,
formation
manner of printing referred
of tissues adapted to the
prepared with, coloured
gelatinous matter, and so constructed, that while
they allow, in the act of printing, free access of light
to
one surface of the coloured
gelatinous
matter, they also allow free access of water, and
the unobstructed removal of the non-aifected portions of the coloured matter from the opposite surface, or back, in the act of developing this result either
by the use of
or
temporary matter
it
merely as
support,
of
paper
so
the
;
;
and
I
obtain
by the disuse of paper altogether, the
a
coloured
used
backing, or gelatinous
becoming
entirely
detached from the coloured gelatinous matter in the act of developing, and forming no part of the print ultimately.
My
"
special
invention
mode
furthermore,
consists,
of using the
said
tissues,
in
the
whereby
superior half-tone and definition in the print are
obtained as aforesaid, and also in a
mode
of trans-
ferring the print after developing from a temporary to a
permanent support, so as
to obtain a correction
in the position of the print in respect of right left.
to,
'In
and
producing the photographic ti&sues referred
I form a solution of gelatine
;
and
for the pur-
pose of imparting pliancy to the resultant tissue, 1
nave found
it
advisable to add to the gelatine
HistoHcal Notes. sugar
solution,
To the
glycerine.
saccharine
other
or
19 or
matter,
add
said gelatinous solution I
carbonaceous or other colouring matter, either in
a fine state of division, such as
is
used in water-
colour painting, or in the state of a solution or dye, or partly in a fine state of division,
and partly
in
solution.
"With sheets
this coloured gelatinous solution I
form
or films, as hereafter described, either at
the time of their formation, by introducing into
I
the gelatinous compound bichromate of ammonia, or other agent of like photographic properties, or
by applying to such non-sensitive sheets or
films,
after their formation, a solution of the bichromate,
or other substances of like photographic property.
This latter method I adopt is
not
required
use
for
formation.
I will, in
bichromate
of
my
ammonia
when the
sheet or film
immediately after
its
future references to the or
bichromate
the
of
potash, or to other chemicals possessing analogous
photographic sensitiser'
;
properties,
and
in
denominate
referring
to
them
the
'
the
coloured
gelatinous solution, I will denominate this mixture
*the tissue-compound.'
produced
is
sensitiser to the
tissue
is
When
the tissue to be
required for immediate use, I add the
tissue-compound
;
but where the
required to be preserved for some time
before using, I prefer to omit the sensitiser from
20
Carbon Printing. with a view to the tissue
the tissue-compound,
being
made
sensitive to light subsequently,
by the
application of a solution of the sensitiser.
"
With
respect to the composition of the tissue-
compound, it
may
result,
it
will be understood
be varied without materially affecting the
by the addition or substitution of other
organic matters,
similarly
when combined with a 1
by chemists, that
have referred
acted
salt of
upon by
light,
chromium, such as
Such other organic matters
to.
and one more of these may be employed occasionally are
gum-arabic,
albumen, dextrine
;
or to
modify the character of the tissue-compound, but I generally prefer to
make
it
as follows:
— I dissolve,
by the aid of heat, two parts of gelatine
in eight
parts of water, and to this solution I add one part
of sugar, and as
much
colouring matter in a finely
divided state, or in a state of solution, or both, as
may
be required for the production of a photo-
graphic print with a proper gradation of light and
The quantity required for this purpose must be regulated by the nature of the colouring shade.
matter employed, and also by the character of a negative
Where
it
to is
be
used
in
operation.
desired that the colouring matter of
the print should consist carbon, I
the printing
prefer to
and prepared as
entirely,
or chiefly,
of
use lampblack finely ground
for water-colour painting, or I use
Historical Notes.
Indian ink
;
and where
21
desired to modify the
it is
black, I add other colouring matter to produce the
For instance, I obtain a purple
colour desired.
black by adding to the carbon indigo and crimson lake, or I
add to the carbon an aniline dye of a
suitable colour
;
where the colouring matter used
is
not a solution or dye, but solid matter in a fine state of division, such as diffuse
Indian ink or lampblack, I
such colouring matter through water, or
other inert liquid capable of holding sion
;
and
subside, I add, of that portion
much
suspension, as solution.
from
it
in suspen-
after allowing the coarser particles
which
to
held in
is
as is required, to the gelatine
In preparing tissue to be used in printing
negatives
known
technically
as
'weak,'
I
increase the proportion of colouring matter relatively to that of the tissue-compound for tissue or paper to
;
and
I
diminish
it,
be used in printing from
negatives of an opposite character. "
Having prepared the tissue-compound proceed to use
described,
I
preparing
sensitive
compound more
tissue,
I
it
as before
as follows
:
—For
add to the tissue-
or less of the sensitiser, varying
the quantity added, according to the nature of the sensitiser,
and
to the degree of sensitiveness to
conferred on the tissue to be produced from
it.
be
For
ordinary purposes, and where the tissue-compound is
made according
to the formula before given, I add
;
Carbon Printing.
22
about one part ol a saturated solution of bichromate
ammonia and I make
of
to ten parts of the tissue-compound this addition
immediately previous to
the preparation of the tissue, and I maintain the
tissue-compound in the fluid
state,
by means of heat,
during the preparation of the tissue, avoiding the use of an unnecessary degree of heat it
through
fine
I also filter
muslin or flannel, or other suitable
medium, previous
filtering
;
to use
;
and I perform
the operations with the tissue-compound, sub-
all
sequent to the introduction of the sensitiser, in a place suitably illuminated with yellow or non-actinic light.
In forming tissue upon a surface of glass,
I first prepare the glass, so as to facilitate the separa-
tion of the tissue
from
it.
For this purpose,
ox-gall to the surface of the glass (by
brush, or by immersion), and allow glass
is
it
I apply
means of a The to dry.
then ready for coating with the tissue-
compound, or I apply to the glass a coating of collodion, previous to the application of the coating
of tissue-compound.
with ox-gall
is
In this case, the preparation
unnecessary.
used, the collodion
may
When
collodion
is
consist of about ten grains
of pyroxyline in one ounce of mixture of equal parts of sulphuric ether and alcohol.
by pouring ing to
off"
it
I apply the collodion
on the surface to be coated, and drain-
the excess, and I allow the coating of collodion
become dry before applying the coating of
tissue-
23
Historical Notes.
compound. to
form the
other form
I generally use a plane surface tissue,
on which
but surfaces of a cylindrical or
may be sometimes
used advantageously.
In preparing sheets of sensitive tissue on a plane surface of glass, I prefer to use the kind of glass
known
as plate, or patent plate.
Before applying
the sensitive tissue-compound, I set the plate to be
coated so that position,
its
upper surface
and I heat the plate
lies in
a horizontal
to about the
temperature as the tissue-compound, that rally,
to
about 100° Fahr.
is,
same gene-
The quantity of the
tissue-compound that I apply to the glass varies with circumstances, but
is
generally about
inches to each square foot of surface coated.
two After
pouring the requisite quantity of the tissue-compound
upon the surface of the fluid
plate, I spread, or lead the
by means of a glass
rod, or soft brush, over
the entire surface, taking care to avoid the formation of air bubbles
;
and I keep the surface
tal position, until the
compound.
in a horizon-
solidification of the tissue,
In coating other than plane surfaces
I vary, in a suitable
manner, the mode of applying
the tissue-compound to such surfaces.
In coating
a cylindrical surface, I rotate the cylinder in a trough containing the tissue-compound, and after having
produced a uniform coating, I remove the trough,
and keep up a slow and regular rotation of the cylinder until
the
coating
has
solidified.
After
24
Carbon Printing,
coating the surface of glass or other substance as described, I place
it
in a suitable position for rapid
drying, and I accelerate this process by artificial
means, such as causing a current of dry
air to pass
over the surface coated, or I use heat, in addition to the current of air, or I place
it
in a
chamber
containing quicklime, chloride of calcium, or other
When
substance of analogous desiccating property. the tissue
which
it
is
dry, I separate
from the surface on
it
was formed, by making an
incision
through
the coating to the glass, around the margin of the sheet
;
or I cut through the cylindrical coating near
the ends of the cylinder, and also cut the coating across, parallel with the axis of the cylinder,
by
lifting
when,
one corner, the whole will easily separate
in a sheet.
Where
the tissue-compound
is
applied
over a coating of collodion, the film produced by the collodion, and that produced by the tissuecompound, cohere, and the two films form one sheet.
Sometimes, before the separation of the coating
from the glass,
I attach to the coating a sheet of
paper, for the purpose of strengthening the tissue,
and making
it
more easy
apply the paper, in a wet
to manipulate. state, to the
I generally
dry gelatinous
and having attached the paper thereto in this manner, I allow it to dry and I then detach the film and adherent paper from the glass by surface
;
;
•jutting
round the margin of the sheet and
lifting
25
Historical Notes. it
Where extreme smooth-
off as before described.
ness of surface, such as
produced by moulding
is
the tissue on glass, as described,
and where greater
is
not of importance,
facility of operation is desired,
I apply a thick coating of the
tissue-compound to In this case the
the surface of a sheet of paper.
paper
is
merely used as a means of forming and
supporting temporarily the film produced from the
tissue-compound
;
and such paper separates from
the gelatinous coating in a subsequent stage of
my
In coating a surface of paper with the
process.
sensitive tissue-compound, I apply the sheet,
some-
times of considerable length, to the surface of the
tissue-compound contained in a trough, and kept fluid
by means of heat, and
I
draw or
raise the sheet
or length of paper off the surface with a regular
motion
;
and
coating to the
I
sometimes apply more than one
same sheet
in this
manner.
such coating, I place the coated paper where quickly dry, and seclude " is,
it
from injurious
After it
will
light.
The sensitive tissue, prepared as before described, when dry, ready to receive the photographic
impression, by exposure under a negative in the
usual manner, or by exposure in a camera obscura to
light
transmitted through a negative in the
manner usual
in printing
by means of a camera.
I prefer to use the sensitive tissue within
of the time of
its
preparation.
Where
two days
the tissue
is
;
26
Carbon Printing.
not required for immediate use, I omit the sensitiser
from the tissue-compound, as before mentioned and with this non-sensitive tissue-compound, I coat paper, glass, or other surface, as described in the
preparation of the sensitive tissue or paper.
In
preparing sheets of non-sensitive tissue by means of glass as described, I use no preliminary coating of I dry the
collodion.
same manner case
as the sensitive, except that in the
the non-sensitive tissue,
of
daylight ''
non-sensitive tissue in the
is
seclusion
from
sensitive,
when
not necessary.
The non-sensitive tissue
is
made
required for use, by floating the gelatinous surface
upon a
and the
solution of the sensitiser,
that I prefer to use for this purpose solution
is
sensitiser
an aqueous
of the bichromate of potash containing
about two and a half per cent, of this
salt.
I apply
the sensitiser (by floating or otherwise) to the of the tissue
gelatinous
surface
I place
in a suitable
exclude
" In
it it
from injurious
applying
to
and after
;
this
position for drying, and light.
photographic
printing
the
various modifications of the sensitive tissue, pre-
pared as before described, I place the sensitive tissue
on a negative
in
an ordinary photographic
printing frame, and expose to light in the
usual in photographic printing
;
manner
or I place
it in
a camera obscura in the manner usual in printing
27
Historical Notes.
by means of a camera
employed
When
obsciira.
the tissue
coated with a film of collodion on one
is
side, I place
the coUodionised side in contact witli
the negative
;
the
place
passing
or where
it is
coUodionised
through
the
used in the camera, I towards
side
camera
the
light
Where
lens.
the
tissue is not coated with collodion,
and where paper
forms one of the surfaces of the
tissue, the other
surface being formed of a coating or film of the
tissue-compound, I place this last-named surface in contact with the negative
when using
or
;
it
in the
camera, I present this surface towards the light After exposure for the
transmitted by the lens.
requisite time, I take the tissue
frame or camera, and mount inafter tissue,
described
with
its
— that
is
from the printing
it
in the
to
say,
exposed surface,
manner hereI
or, in
cement the other words,
with that surface which has received the photographic impression, downward, upon some surface (usually of paper) to serve temporarily as a support
during the subsequent operation of developing, and
with a view to the transfer of the print, after
development, to another surface (also
pressed surface downwards)
which
it is
or I cement
it
glass,
upon the surface to
to remain permanently attached.
surface on which card,
;
with the exposed or photographically im-
it is
porcelain,
so
The
mounted may be paper,
enamel,
etc.
Where the
28
Carbon Printing.
tissTie
has not been coated with collodion previous
to exposure to light, I prefer to coat
it
with collo-
dion on the exposed or photographically impressed
mounting
side, before is
it
for development, but this
not absolutely necessary
;
and I sometimes omit
the coating with collodion, more particularly where the print
Or where
is
I
intended to be coloured subsequently.
employ
collodion, with a view to connect
the minute and isolated points of the print firmly together,
during development, I sometimes
mately remove the film
it
ulti-
forms by means of a
mixture of ether and alcohol, after the picture has been finally mounted, and the support of the film of collodion
is
no longer required.
In mounting
the exposed tissue or paper previous to development, the temporary manner, with a
in
view to sub-
sequent transfer to another surface, I employ, in the mounting, a cement that
is
insoluble
in the
water used in the developing operation, but that can be dissolved afterwards, by the application of
a suitable solvent
;
or one that possesses so
little
tenacity, that the paper or other support, attached
temporarily to the tissue or paper by
may be
its
means,
subsequently detached without the use of a
solvent. "
The cements that may be used
mounting are very
for
temporary
various, but I generally prefer to
use a solution of india-rubbor,
in
benzole or other
29
Historical Notes.
solvent, containing about six grains of india-rubber
each ounce of the solvent, and I sometimes add
in
the
to
india-rubber
a small
solution
of dammar-gum,
or gutta-percha.
cement, I
the
float
photographically
surface of the tissue upon
manner the paper
proportion
In using this
it,
and
impressed
I treat in a similar
or other surface intended to be
used as the temporary mount or support during
development
and
;
after allowing
the benzole or
other solvent to evaporate, and while the surfaces
coated with the cement are
them "
still
them
tacky, I press
such a manner as to cause
strongly together in to cohere.
When
the photographically impressed but
undeveloped tissue
is
to be
still
cemented to a surface,
that not only serves to support the picture during its
development, but also constitutes permanently
the basis of the picture, I prefer to use albumen, or starch paste as the cementing I
employ albumen,
soluble in water
I
medium
coagulate, or
;
render
and previous
permanent as cement the
in the tissue,
to
it
is
mounting the
in-
with
its
to be
cementing
developing.
temporary mode
of
In
the
mounting, I
photographically im-
pressed surface downward, upon the
which
it
(by means of heat, by alcohol,
or other means), after performing the operation,
and where
surface
permanently attached.
tissue, as before described,
to
After
and allow-
30
Carbon Printioig.
ing the cement, used time to dry, where
such a nature as to require
mounted
it is
of
I then submit the
it,
tissue to the action of water, sufficiently
heated to cause the solution and removal of those portions of the coloured gelatinous matter of the tissue
which have not been rendered insoluble by
the action of light during exposure in the printing
frame or camera.
Where paper has been used
as a
part of the original tissue, this paper soon becomes
detached by the action of the
warm
water, which
then has free access to the under stratum or back of the coloured gelatinous coating, and the soluble portions of
it
sion
is
removed by the means the impres-
are therefore readily
action of the water
;
and by
this
developed, that was produced by the action
of light during the exposure of the tissue in the printing frame or camera, and the picture remains
attached to the mount, cemented to the photographically impressed surface previous to develop-
ment.
I allow the water to
act
upon the prints
during several hours, so as to dissolve out the
decomposed bichromate as
far as possible.
I then
remove them from the water, and allow them dry,
and those not intended
for transfer,
to
but that
have been permanently attached to paper, previous to development, I finish by pressing
in the usual manner.
and trimming
Those which
have been
temporarily mounted, I transfer to paper, card, or
31
Historical Notes.
In transferring to paper or card,
other surface.
I coat the surface of the print arabic, or other
allow
it
cement of similar character, and I then trim the print to the proper
to dry.
shape and
with gelatine, gum-
and place
size,
its
surface in contact with
the piece of paper or card to which the transfer
is
to be effected, such piece of paper or card having
been previously moistened with water, and I press the print and
mount strongly together and after become perfectly dry, I ;
the paper or card has
remove the paper or other supporting material, temporarily either
attached,
previous
by simply tearing
it
off,
used in the temporary mounting
to
development,
where the cement is
of a nature to
allow of this without injury to the print, or I apply to the
temporary mount benzole or turpentine, or
other solvent of the cement employed, or I immerse
the print in such solvent, and then
detach the
temporary mount, and so expose the reverse surface of the print, and after removing from the surface of
the print, by means of a suitable solvent, any
remains of
the cement
used in the
temporary
mounting, I finish the print by pressing in the usual manner. dionised,
If, however, the print be coUoand be required to be tinted with water
colour, I prefer to
remove the collodion film from
the surface of the print, and this application of ether and alcohol.
I
do by the
—
Carbon Printing.
32 " Having tion
of
'
plained the I
wish
it
now
my inven-
set forth the nature of
Improvements
in
Photography/ and ex-
manner of carrying the same
into effect,
to be understood, that under the above in
part recited letters patent, I claim
" First, gelatinous
the preparation tissues,
in
the
:
and use of
coloured
manner and
for
the
purpose above described. ''
Secondly, the mounting of undeveloped prints,
obtained by the use of coloured gelatinous tissues, in the
B
manner and
for the
B
purpose above described.
B
'B
" Thirdly, the remounting or transference of de-
veloped prints, produced as above described, from a temporary to a permanent support." It will be seen, then, that the whole secret of the process lay in preparing " a tissue " which could
be exposed to light under a negative in the ordinary
way and then attached
to
some support and de-
veloped from the back, leaving the half-tones entire.
The above diagram may help
to
make
things clear
as to the action of light on bichromated gelatine
or any colloid body.
Let
AAAA
represent the
film of bichromated gelatine, after exposure under
a negative, then
HCCC
will represent that portion
—
PrepaHng
33
the Nafi-Sendtive Tissue.
which has been rendered insoluble by the action
BBBB
of light, and
that portion which
In some places
soluble.
is still
will be noted the light
it
action has penetrated right through the film, but
and to develop
in others only partially so,
position as
shown above
those portions of the
away
will break
B
on gelatine,
in
more than
it is
it
in the
likely that
representing half-tone
film
development when the unacted-
B, underneath
is
dissolved.
PREPARING THE NON-SENSITIVE TISSUE. The
tissue
readers
prepared
and
strongly
I
my
recommend
purchase their tissue ready prepared.
to
Although
prepared by machinery in large
is
establishments,
I have, for purely experimental purposes,
my own
tissue, it is far
troublesome, and more messy. in endless
bands
is
more
costly,
more
Commercially, paper
passed over the surface of a
trough of pigmented gelatine, which
is
kept at an
even temperature by the aid of steam.
The pigmented gelatine
A plain "jelly " is
first
is
prepared as follows
:
prepared from some formulas
such as the following, the
by Jeanrenaud.* is
sufficient
60 cm. X •
to
first of which was given The following quantity of jelly
coat
m. 76 cm.
"Bull, de
a
(=
length
of
132 x 30
paper 3 ins.).
la Soc. fran§.," 1872, pp. 31. 70, 103.
3
m.
34
Carbon Printing. PLAIN JELLY.
Nelson's gelatine
...
25
Amber
„
...
200
Water
...
Sugar Dry- soap
...
...
...
The gelatine
25
g.
oz.
460-920 grs.
or
g.
„
24
or
cc.
30-60
...
is
„ 3100
675
...
386 grs.
or
g.
386
or
grs.
soaked in the water, dissolved by
the aid of a gentle heat, and the sugar and soap
added
;
the whole carefully filtered and mixed with
the colouring-matter.
EEDDISH BROWN (PHOTOGRAPHIC TINT). Indian red
10 g. or 154
...
Carmine lake
6
,,
Chinese ink
8
„ 123
grs.
92|^
„ ))
CHOCOLATE BROWN. Chinese ink (stick)
...
Dry hydrated peroxide of
iron
3
g. or
46
grs.
2
„
Alizarine dissolved in soda
0"5
„
7|
„
Purpurine
0*5
„
7^
„
...
...
...
31
,,
ENGRAVING BLACK.
Lampblack
...
...
3*8 g. or 58*6 grs.
Carmiue lake
4
„
62
„
Indigo
2
„
31
„
.
.
Preparing
WARM Lampblack
35
the Non-Sensitive Tissi^.
...
Carmine lake
BLACK.
...
...
...
...
6 g. or 92 grs. 6
,,
92
„
Burnt umber
4
„
62
„
Indigo
2
„
31
„
DARK BROWN. 2'5
Indigo
g.
or 39 grs.
Indian red
6
„
92
„
Carmine lake
1*25
„
19
„
4
„
62
„
„ 462
„
Vandyke brown Lampblack
...
...
30
RED BROWN. Chinese ink
6 g. or
Carmine lake
8
Vandyke brown
8
SEPIA.
Lampblack
4g.
Sepia de Cologne
.
.
RED TRANSPARENCY. Carmine lake Indian red
. .
Chinese ink
92 grs.
„
123
„
„
123
„
— —
Carbon Printi/ng.
3ft
The pigment or colouring-matter
is
state of division as it is possible to get
being sifted
in as fine a it,
and
after
placed on a large sheet of ground " plate glass, and a little of the warm " plain jelly is
poured into the middle, and worked about with a
muUer
till
absolutely smooth
jelly is added,
;
then the rest of the
and the paper coated.
Burton * gives the following directions " at
The following formula one time
chemist
is
due to Adolph Ott,
Braun &
Messrs.
to
:
Co.,
Dornach, one of the largest workers of the carbon process
in
the world.
results in the
has
It
given successful
hands of the writer
Gelatine
...
...
Sugar candy
..
...
.
:
100 parts ...
Glycerine (when necessary)
...
25
„
...
5
„
Potassium bichromate (dissolved in 50 parts of water)
Water
„
400
„
2 to
5
„
...
300
Colouring-matter " The above
by Ott.
5
to
...
is
...
...
the
The following
the writer, and the
formula is
exactly as given
the modification used by
exact manner of mixing the
'jelly':Nelson's opaque gelatine • " Practical
^ lb.
Guide to Photographic and Photo-mechanical
Printing Processes" (published by Marion).
Preparing
37
the Non-Sensitive Tissue.
Coignet's gold label gelatine
2
oz.
White loaf sugar
3
„
...
Glycerine (none for any climate the
had any experience
writer has
and a thing to be avoided
if
of,
pos-
sible).
bichromate (dissolved in
Potassium
5 ounces of water, and converted into double chromate of potassium and
adding liquid am-
ammonium by monia
till
the
smells
solution
distinctly of it)
i oz.
Water
2 pints
Colouring-matter, quantum
suff.,
as
to be hereafter described.
"As
to the colouring-matter that
may
be used
For
all
common
work, however, lampblack in some form
is
used as
there
almost an endless variety.
is
the body of the colour.
may be used
—
as, for
Any form
example,
*
of lampblack
ivory black.'
It is
probable that for work on a small scale, at least, there
is
nothing so good as
with this that
been made.
'
all
'
Chinese
ink.'
It is
the writer's experiments have
Chinese ink
'
is
merely a very
fine
quality of lampblack suspended in a sort of gelatine
or in a
gum
;
and even the
inferior varieties,
which
can be bought very cheaply, are good enough for
all
—
Carbon Printing.
38
kinds of carbon-work, except such as the making of lantern
These
slides.
magnification,
being
subjected to
advisable, if they are
it is
great
made by
the carbon process, to use a fairly high quality of *
Chinese
A
ink.'
into fragments
quantity of the ink
by a hammer
for the ink is very
broken
is
—not a very easy thing,
—and
hard
is
placed in a cup, and
covered with cold water for twenty-four hours.
left
Any
time after this the ink can easily be melted
by the application of heat, forming a thick black paste.
"When gelatine
it
is
is
wanted
to
mix up the
covered with water, and
Heat
soak for an hour or two. to is
melt
it,
and the sugar
very readily melted by a
This latter
been melted by heat,
is
much
added
little
by
small strip of thinnish white paper
writing-paper, for example
on the surface of the It is held
by one end
off of Itself
has run
looking through
it
—
is
till all
off,
and
is
way
is :
— common
floated for a
and
jelly,
to
little
The colour
stirring.
tested from time to time in the following
X
Next
The Chinese ink paste having
comes the pigment. the gelatine with
then applied
stirring.
little
the
allowed to
is
is
added.
is
jelly,
moment
then removed.
the jelly that will run
then examined by The addition of the
it is
at a lamp.
pigment should be continued
till
the
little
bit of
sample tissue that has been made appears quite
—
39
SeTwitising the Tissue.
For 'transparency tissue' the addition
opaque.
should be continued
more pigment
there
till
is
about 50 per cent,
the jelly than
in
necessary to
is
produce opacity."
SENSITISING THE TISSUE. The
may
tissue
be obtained commercially, and
the various
colours
brown, sepia,
warm
are
warm
standard brown,
:
black, engraving black, standard
purple, Bartolozzi red, sea green, blue, transparency grey, or, in fact, in to size, or in
strongly in this
any colour.
bands or
rolls,
costing less in the
;
may
and for
recommend beginners
matter at least
It
be had cut
my own use I my lead
to follow
I prefer that cut to size, as
end than buying a whole band,
though of course when advance has been made, and considerable numbers of prints have to be made,
bands will be cheaper.
The
sensitising solution is
Potassium bichromate
made by ...
dissolving
...
Liq.
The cut if
ammonia tissue
('880)
may
...
...
oz.
5 drops
be floated on the surface of this
desired, but personally I prefer
tissue,
1 oz.
20
Distilled water
:
and therefore
I
immersing the
give directions
for
this.
Carbon Printing.
40
Take a deep porcelain developing sizes larger this to
two
dish, one or
tban the tissue to be sensitised
;
fill
about the depth of an inch with the above
Take a piece of
solution.
tissue with both hands,
and immerse one edge first below the thirty seconds
;
liquid,
Allow
the whole under the surface.
to
drawing soak for
then, taking hold of the edge first
immersed, draw over the edge of the bath and hang
up by wooden
clips or pins to dry.
The temperature
of the solution must not exceed 79° Fahr., but in
may be
winter the tissue
allowed to remain for
forty-five seconds.
It is possible
to alter to
by
by altering the method of
some extent the resulting
floating the tissue, softer
may
is
floated
on the
liquid,
Thus,
less vigorous prints
If on the other
be obtained.
support
and
sensitising
prints.
hand the
paj)er
and the solution
is
absorbed by the lower layer of pigmented gelatine
more than the prints
result
surface, harder
and more vigorous
whereas by immersing the tissue
;
uniform sensitiveness
is
obtained.
Ammonium bichromate may replace the potassium salt, in
which case the solution of ammonia may be
omitted, but
I
am
not aware that there thus
obtained.
is
After
any sen-
greater
sensitiveness
sitising
about a dozen or eighteen cut sheets
always add a
little
fresh stock soiutiou.
I
Dryi/ng
and Keeping
41
the Tissue.
DRYING THE TISSUE. This operation
is
an important one, and on the
successful performance
of
it
depends to a great
extent the success of the subsequent operations, for
should the time taken in drying be too long, the tissue will
become insoluble or adhere
less firmly
The more slowly the tissue is dried within reason the more sensitive it is, but I prefer to keep it a little longer when dry if increased sen-
to its support.
sitiveness
is
required.
I
always use a specially
constructed drying-box, but the want of this need not deter any amateur from trying the process.
the tissue left
is
sensitised at night
hanging up, pinned
will
for instance to a domestic
two yards
clothes-horse, about it
in front of a fire,
be dry by the morning, and
the room
are
drawn down,
if
the blinds of
so as to exclude all white
—or yellow blinds may be used—
light
not affect
If
by candle-light and
^the
light will
it.
KEEPING THE TISSUE. When jrdinary
sensitised
the tissue
way about a
fortnight,
will
keep in the
though
it
may
be
kept longer by being placed in a tin box provided with a chloride of calcium drying chamber.
damper the paper the shorter the time
it
The
will keep.
42
Carbon PrintiTig.
PRINTING. The
first
essential
is
to provide the negative to
be printed from with what
" safe-edge "
;
this is
is
technically called a
an edging of paper or thin
coating of opaque black varnish.
The
safe edge
should not be absolutely opaque, and I always use thin orange yellow paper, or the yellow or pink lantern-slide binding strips
may
be used with great
convenience, and are just about the right width.
The paper should be stuck on to the glass, not the though if thin paper be used it may be stuck
film,
on the film.
Any
may
ordinary printing frame
I always
be used, but
use the india-rubber pads as used for
platinotype printing, which not only ensure better contact between tissue and negative, but keep the
former from absorbing moisture.
As the progress of by looking at the contrivance which
printing cannot be observed
tissue, is
we have
recourse to some
called a photometer or actino-
meter.
THE PHOTOMETER OR ACTIMOMETER. There are several kinds in the market, such as
Woodbury's, Johnson's,
meter can also be used
etc.
Watkins' exposure
if desired,
or the
number
tablet of Warnerke's sensitometer I have used at a
43
The Photometer or ActimoTneter. pinch, and
one at a
it
is
by no means
trifling
difficult to
construct
expenditure of time, trouble, and
money.
For
this
purpose procure a one-ounce purple-
shouldered pill-box of the
from any chemist, lay the
box upside down on the
penknife and
make two
table, take a sharp
half-inch
slits in it, parallel
to one another and about half an inch apart.
careful that there are
lid
no ragged edges to the
Be
slits,
which would cause possibly subsequent trouble.
Now
take a piece of ordinary sensitised paper, or
even gelatino-chloride paper will do, cut strips three-eighths of
through one of the
when the
lid is
lid,
just in
into
an inch wide, insert one end
slits
and into the other, so that
on the box you have just half an
inch of sensitive paper showing. the
it
In the side of
a line with the two
slits,
cut a
44
Carbon Printing.
half-inch
paper.
slit
through this draw the end of the
;
It will thus be possible to
draw out the
paper as required.
Now
to make the actinometer. Take the above home-made box a sketch of which is here given— into the open air, and expose the paper to
—
little
light
till
it
turns to a fairly strong colour
when
the tint of an ordinary silver print
Then
printed.
retire
your
to
—about
one-third
workroom,
with
water-colour try and match the tint of the paper as nearly as possible, it
and be careful that
when the water-colour pigment
the actinometer
is
is
dry
it j
matches
and then
ready for use.
THE ACTUAL PRINTING. Expose your frame recommend sunlight must be, of course, a is
absolutely dry.
in
a bright light
for
sine
it
gud non that the
when printed
will,
;
but
it
tissue
Should the film of pigmented
gelatine retain any moisture,
that
— some even
dense negatives
it is
of course obvious
sun, give rise
in the
to trouble.
A
printing frame with hinged back, of the ordin-
ary pattern,
is
not a necessity, as the tissue
examined during printing. printing frame is
Many
is
not
of the ordinary
backs are lined with cloth which
very coarse and lumpy, and this
may
give rise
—
The Actual Printing. to
46
For my own work I nse a mahogany and one or two sheets
uneven contact.
piece of planed
of white blotting-paper, or the india-rubber pads
mentioned above.
The printing frame and the actinometer should when printing, and if much
be placed side by side
carbon work to obtain
is
done, I should advise the operator
some stout copper
into a circle,
wire,
bend
round
it
and drive the end into the side of the
printing frame, so as to form a little holder for
the actinometer.
As the exposure tint to
estimated by the depth of
is
which the actinometer paper darkens,
it is
obvious that a somewhat close watch on the process
must be kept.
After a
gauges the requisite
experience, one soon
little
time
or
number
of
tints
required to print from a certain class of negative
A
approximately of course. duration of printing it is
known
may
rough idea of the
possibly be given
when
that carbon tissue prints in about one-
third of the time necessary for silver printing.
But
the sensitiveness of chloride paper, Ilford P.O.P., is
Where
about the same as carbon tissue.
negatives well to
have to be printed from
it
is
large
just as
expose a small piece of tissue under a
typical part of the negative.
When
printing has continued for
some time and
the actinometer has registered one tint, then the
—
46
Carbon Printing.
drawn forward to expose a fresh Of course with actinometers with numbered
sensitive paper is piece.
squares It
it is
only necessary to note the numbers.
always advisable to print several pieces
is
being no toning bath,
of tissue, although, there it is
not a question of cost, but one of trouble, as
hot water
is
used, and
as easy to develop six
it
or twelve prints as one.
DEVELOPMENT. Somewhat analogous plate, the
image
is
to the gelatino-bromide dry
invisible
as a
see
to
the image faintly.
over dry-plate developing
although
rule,
on some of the lighter-coloured tissues
it is
possible
There are advantages in the first
:
place,
we
can work by ordinary candle or gaslight, or even faint daylight
;
but probably the carbon worker
will prefer to utilise every available light, ofi"
and can thus get a dozen or more prints
and develop the whole
water
hour of printing
is
in the
finger stains,
Hot we have no
evening.
the only developer, so that
and practically not such nicety as
to the exact composition of the developer.
The
requisites for developing are
4 Dishes 1
Squeegee
1
:
Sheet of Zinc
Single-Transfer Paper
Hot Water
47
Development
Like the Irishman, we begin with the last thing
Hot water may usually be had
first.
but
in households;
not always convenient to have to trot
is
it
down from the dark room
the
to
To
kitchen.
avoid this trouble and always have some handy, of the copper kettles provided with a
I use one
spirit-lamp underneath
now
fashion just
which
are
for tea-tables
a good supply of hot water in kettle filled with hot water
there
is
;
the
my
and the
dish
and the
spirit-jet alight,
no further trouble.
The dishes may be iron
much
so
and having got
;
is
it
porcelain, zinc, or enamelled
not advisable to use ebonite or glass,
of warping or cracking them.
for fear
Always
choose your dishes a decent size and a good depth.
For half-plates I use a small lead sink, which
11x13x6 ins.,
and whole-plates can
easily be developed in this.
Plenty of room and
measures
plenty of water will not come amiss.
The squeegee should be one of the scraper kind, not a
My
roller.
not been happy bubbles.
It
;
attempts with these last have
somehow
may be my
have always got
I
fault
—
possibly
it is
;
air
still
I prefer scraper squeegees.
A
sheet of zinc
glasses
may
is
advisable,
be used.
gauge, costing
Is. 8d.
though old negative
The zinc
I use is
No. 18
per square foot, and for half-
plates measures 10 in. square,
and can be used
for
48
Carbon Printing.
and half-plates
whole-plates
costing so
;
little,
it
need not be spared. Single-Transfer Paper.
—This
is
paper coated on
one surface with insoluble gelatine, and obtained commercially.
Failing this, one
may be may use
baryta paper, such as used as a support for gelatinoemulsions, and this
chloride printing-out
obtained either white or tinted.
work from which
his
says
:
may
" It
may
single-transfer paper
may
be
Burton, in
have previously quoted,
I
be useful to
albumenised paper
W. K.
know
that
common
be used in place of either
or the final support used in
In
the double-transfer process.
all
the older carbon
some cement was used to fix the gelatine image to the support, and amongst them was processes
Common
albumen. salt, as
albumenised paper
contains
the reader well knows, but this has no bad
In using the albumenised
action on the carbon film.
paper the operations are exactly the same as in using single-transfer paper, only that the albumenised paper is
must be soaked
necessary to soften
will
it
;
in water no longer than
otherwise the albumen
be dissolved away, and will not, of course, act
as a cement.
The albumen
sure to be dissolved
with the result that a spite of the
in the high lights
is
away during the development, fine
matt surface
is
got.
In
matt surface, the writer considers that
almost better results are got in the case of small
—
49
Development.
vrork with the ordinary albumenised papers in the
market than with the papers specially coated single
and double
paper
is
transfer,
— to
suited to the
be described hereafter
known
kind of print
ticular
and the thin albumenised
certainly particularly well
production
for
as
*
— of the
par-
Lambert-type.'
The use of common albumenised paper
in the
just mentioned
me by m)
friend
was
first
described to
way
K. Ogawa."
Having everything ready, place your dishes The
line.
in
with cold water, the second with
first fill
hot water at a temperature of 100° to 110° Fahr. at first
it
after a little practice one soon
perature from the
— not
our
is
old
saturated solution of
knows the
third is used for cold " reserved for the " fixing
friend
"hypo.," merely a
common alum
a sheet of single-transfer paper cut a
little
in water.
— which
till it
and allow feels slimy.
it
to remain for three
Now immerse
a piece
of exposed tissue face downwards and allow soak.
This will at
roll up, film inside
and,
But
if left
Put
should be
larger than the print to be developed
in the first dish,
minutes or
right tem-
The
feel.
water, and the fourth solution
;
advisable to use a thermometer, but
is
first ;
it
it
to
curl up, or if very dry even
will soon begin to straighten,
long enough, curl up the other way.
as soon as
it is
all
but
flat
bring the transfer
paper and the tissue into contact
;
have the zinc
"
50
Carbon PHnting.
plate ready, slip under, and raise the whole from
the dish, carefully adjusting the exposed tissue into
the middle of the paper vigorously
— do
then apply the squeegee
;
not be afraid, absolute contact
a
is
necessity,
and no harm can be done except rubbing
up a
of the paper.
little
middle outwards in
down and
Use the squeegee from the
all directions,
across the print.
Lift
and then up and
from the zinc plate
on to two or three sheets of white blotting-paper, place the
same number on
and then a heavy
top,
weight.
Should
only one
developed they must be
even longer
if
two
or
have
prints
left for
to be
twenty minutes, or
absolutely necessary
;
where several
prints have to be developed they should be treated in the
same way, and placed on the top of the
and then
after the lapse of
squeegeeing down the
twenty minutes from
first print
turned upside down and the
first,
the pile print
first
is
may
be
ready for
development.
Taking the paper support
print on its " single-transfer
first it
immersed
is
in the hot water,
allowed to remain for a few seconds, when
it
and will
be seen that the pigmented gelatine will begin to ooze out from the edges.
Now
take hold of a
corner of the original paper support, and gently and carefully pull
good
;
if
it ofi".
not allow
If it
it
to
comes soak
ofi"
easily, well
for a
and
few seconds
Development. longer,
61
and commence at another corner. paper
completely removed, this aTvay, as,
having served
purpose,
its
Wlicn
may be thrown it is
no longer
of any use.
The print p.t this stage will probably look a dirty, smudgy mess, and with the darker tissues be quite buried in the melting tissue.
Now
form a cup of
the palm of your hand, and dash the hot water on to
it.
and
As
this is effected, the
clearer, the
light being
ment
will
pigmented gelatine not acted on by
washed away by the hot water.
about four or
five
it
In
minutes the process of develop-
be complete.
be hurried,
image becomes clearer
Development should not
being far preferable to use cooler
water and take longer, as
it
is
possible thus
to
compensate more readily for errors in exposure, a subject I shall treat of in Failures (q.v.).
As carbon prints always dry a little darker than when wet, development should be pushed just a shade further than when the finished print is required. far to go.
A little
experience soon teaches one
As soon
as developed, put the print into
the third dish of cold water
and may be said fixing.
how
to
;
this chills the gelatine,
perform a sort of provisory
Carbon FHnting.
52
FIXING. Our
print
is
not yet complete
;
still
it
contains,
both in the paper and in the film, some soluble bichromate, and the object of " fixing " in the alum
bath
is
After a few minutes'
the removal of this.
stay in the third dish of cold water, the print should
be placed in the alum bath
till
absolutely free from
any yellow tinge, and then washed
to
alum, and dried when the print
is
alum
this,
and
also hardens the film,
remove the
The
complete.
together with
the hardening action of light and the permanent character of the pigments used in the carbon pro-
has caused
cess,
it
to
be considered the acme of
photographic printing as regards permanency.
THE DOUBLE-TRANSFER PROCESS. Probably some of understand what this
my
readers
this as clearly as I can.
If
will
not
quite
I
must try and put
we
print from a nega-
and
is,
— — and
make it easier, when our slide is dry we hold it up with the film towards us, we see a correct representation of what we saw in the view
tive let
by contact on any paper
us say a lantern slide
or, to
or subject which was impressed on the negative.
But
if
glass
we turn the is
next us,
lantern slide round so that the
we
find that things
which were
53
The Dovhle-Transfer Process.
now come on
previously on the right have
and this
is
what happens
precisely
the
left,
in the carbon
process.
We
print
by contact from a negative, and then
turn our tissue round and develop from the back, so that the left
the
left is
becomes right and right
not the right
it isn't
right,
left,
and as
although in
some cases we need not trouble our heads about For instance,
that.
in
quarter-length portrait,
printing from it
a bust or
much matter
does not
whether the portrait of a pretty young lady be turned round so as to
and
vice versd
one way as the other left
make her
left ear
the right
—probably she will be quite as pretty ;
but should that young lady's
hand be included, and the third
hand bear a wedding
ring,
see her in the print with a
of that
fijnger
will look curious to
it
wedding ring on her
right hand.
In landscape work this " lateral " reversal
simple, as places
opposed
we know,
is
To get us out of
may
when picture-making pure and
often be neglected
to
topographical
studies
of
the object.
this difficulty, therefore,
we have
recourse to the double-transfer process, which consists
in squeegeeing the print
down
to
a
waxed
support, flexible or otherwise, and then applying
the final support, and
when dry
not a
and, reverting to our lantern-
iifficult process,
strippicg.
This
j>
—
Oarhon Printing.
54 slide simile,
means that we have simply tnrned the is next us. To
round again, so that the film
slide
we use a
transfer our print then, or put right,
TEMPORARY SUPPORT, which
may
be either flexible or
rigid, polished or
matt, according to the surface desired in the final print.
opal
Should a matt surface be desired, " smoothed"
may
finely
be used
;
smoothed opal
ground on one
side,
and
is
is
opal which
is
probably called
" smoothed " on the lucus a non lucendo principle.
Personally I
much
prefer zinc, and using the
same
gauge, No. 18, as previously mentioned,
it
mulled or grained hj using
flour
water, or a
weak
fine
emery
can be
and
nitric acid bath.
Flexible supports are to be obtained commercially,
and are really paper coated with insoluble gelatine and solution of water.
shellac, so that
Flexible supports are
beginners to manipulate, but
it is
impervious to
somewhat it
is
easier for
not possible to
matt surfaces with them.
Whatever the temporary support
be,
must
it
before use be waxed, in order to facilitate stripping.
The solution recommended
for this
purpose
is
;
Yellow resin
36 grs.
Yellow wax
12 „
Turpentine
2
oz.
55
Final Support. Melt the wax, add the
remove from the
fire,
resin, stir for
a
little
time,
and add the turpentine.
I
have suggested elsewhere the substitution of ether for the turpentine in the
above formula, because the
more quickly, and the
ether evaporates
paper or temporary support quickly.
may
must confess that
I
transfer
be used more
was under the
I
impression this was quite original, but I find that ether was used instead of turpentine quite in the early days.
The temporary support means of the above
is
zinc or paper
on to the middle and smeared
pad of
lint,
is
all
over with a
little
wash-leather, or soft linen, and then
When
polished with another piece.
formula
waxed by
solution, a little being poured
used, the support
the turpentine
must be
left
some
hours before use, to allow the turpentine to evaporate.
Having our temporary support ready, we need only prepare our
FINAL SUPPORT to
have a finished Final supports
print.
may be glass,
stone, opal, or paper, but first
we
leather,
by describing the use of paper.
prepared
may
wood, metal
shall content ourselves
Paper
specially
be obtained commercially, and
is no%'
;
56
Carbon Printing.
ordinary paper coated with a film of gelatine.
This
has to be soaked in 2 per. solution of alum for about ten minutes, and
it is
ready for use.
The operations
for double-transfer prints are practically the
same
as for single-transfer so far as regards development,
but for the sake of beginners I run through the
whole process again.
Expose your
tissue in a
frame simultaneously
when
with the actinometer
;
lay the tissue in water
till soft,
waxed temporary support
sufficiently
in the water, bring the
tissue into contact, squeegee well,
previously described. water, transfer to
When
alum
exposed
place the previously
and develop as
developed, dip in cold
bath,
wash
well,
and bring
the final paper support, which has been soaking in
alum, into contact with the developed print, squeegee well, its
and allow
final
to dry.
support
may
When
dry, the print and
be stripped by inserting a
knife under one corner, and gently pulling.
RIGID FINAL SUPPORTS. In it is
all
cases where a rigid final support
is
desired,
essential to use a flexible temporary support
otherwise intimate optical contact cannot be obtained.
In every case the procedure 30
lai
is
precisely the
same
as development, washing, and fixing are
Transferring Prints
to
57
Opal.
concerned, a slight diiFerence only being necessary in the preparation of the final support.
TKANSFERRING PRINTS TO OPAL. Carbon prints on opal, particularly the smoothed or matt surface with bevel edges, form exquisite
ornaments for any room, as they can be prepared any colour and mounted in any
mounts or as transparencies, and
I
style, either
etc.,
have some charming
in
on plush
and of any shape
little
;
candle shades
prepared by the carbon process on circular opal plates.
Matt opal requires no preparation, the carbon image holding firmly enough
;
the image on the
temporary support being merely squeegeed well to the opal, set up to dry, and the temporary support stripped.
TRANSFERRING PRINTS TO GLASS, METAL, WOOD, IVORY, OR ANY POLISHED SURFACE. The only
difference
in
this is to
surface of the final support, in
two ways, either
and
by giving
prepare the
this
may be done
it
a coating of
;
58
Carbon Printing.
bichromated
gelatine
or
with
personal!}^ I prefer the latter.
I
chrome-gelatine give both methods,
however.
THE BICHROMATE METHOD. Heinrich's gelatine
1 oz.
Distilled water
Soak
18 „
for four hours
;
dissolve by the aid of a
water bath.
Potassium bichromate
...
...
Distilled water
...
...
...
20
grs.
2 oz.
Dissolve and add to the gelatine solution
;
filter
whilst hot, and coat the support with as thin a film as possible
;
dry and expose to sunlight for an hour
at least, or diffused light for four hours.
THE CHROME-GELATINE METHOD. Heinrich's gelatine
...
Distilled water
Soak
for four hours
320 20
;
dissolve
grs.
oz.
by the aid of heat or
water bath.
Chrome alum
...
Distilled water
...
... ...
Dissolve, add to the gelatine, and
...
12 grs.
...
4 oz.
filter.
glass or final support as thinly as possible.
Coat the
59
Lantern Sliden.
When it is
and
using wood, kather, or any porous support
advisable to
wood
for
fill
the pores as
much
as possible,
always use Aspinall's enamel thinned
I
down with turpentine and rubbed in with a pad. The average worker of ordinary ingenuity have no
difficulty in
process to any surface.
the chrome gelatine
will
adapting from these hints the
is
Of the two substrata
given,
superior, but unless care is
exercised in mixing there
is
a great tendency for
the gelatine to precipitate.
LANTERN SLIDES. Probably of
all
processes for lantern-slide making
the carbon process finest results
—
that which
gives the very
exquisite gradation, transparency in
when
the shadows, and, is
is
required, bare glass.
It
not more difficult than other processes for the
production of lantern slides
— and
— perhaps not so difficult
the single-transfer process
a reversed slide
may
be used, as
of no consequence, and
is
may be
put right in mounting and marking.
The ordinary
tissue
give good results
;
may
be used and will not
the finest results only are to
be obtained with the special transparency tissue,
which contains an extra amount of pigment and of a finer kind.
This should be bought from the
—
Carbon Prlrding.
60
mannfactnrers and sensitised on the ordinary bath.
For lantern work a convenient
it is
size,
advisable to get tissue cut to
such as 6| x 6^
ins.,
which ob-
viously cuts into four lantern slides of 3J ins. square. Obtain some patent plate glass this can be bought
—
very cheaply at any plate-glass insurance
a
little
office
larger than the tissue, about half an inch
each way, coat
it
Pyroxyline
with a plain collodion, such as
6| grs.
...
Ether
^ oz.
Alcohol
i „
Coat the glass with this collodion
waxed has
or talced
having
after
and, as soon as the collodion
it,
When
a dish of cold water.
set, transfer to
the tissue has floated long enough on the sensitising solution,
slip
the collodionised glass underneath,
remove both together, squeegee, and dark to dry.
When
the glass, cut up requisite size,
ordinary
set
up
in the
thoroughly dry, strip from
carefully
into
of the
squares
and expose under a negative
in the
way, as previously described, using as
a safe-edge a lantern
mask
previously described.
The exposure
or the black is
varnish
about half
as long again as for ordinary carbon work.
To prepare the
glasses, they should be coated
with the chrome-gelatine described on
may
be treated with
p.
68, or
62
(Jarhon Printing.
edges of the exposed tissue so
the little
and coating
dish,
it
then
to form a
fis
after exposure)
(i.e.,
The subsequent operations are
with collodion.
pre-
same as above.
cisely the
FAILURES. The carbon process,
process, like every other photographic
not free from possible failures
is
however, insurmountable.
not,
them
they are
;
shall
treat
of
in the order of procedure to facilitate matters.
The tissue
is
insoluble.
—This
(a) acid bichromate of potash
add a
to
I
little
ammonia
may
be caused by
— hence the suggestion
to the sensitising bath
slow drying or a
damp
drying room
;
(b)
too
(c)
gaseous products of combustion in the drying
room in
a
(d) keeping the film too long
;
damp
place
suitable gelatine
;
(/) exposure or too little
;
(e)
to light
;
;
keeping (^) un-
sugar in the plain
Jelly.
—
The film dissolves in the sensitising bath. The bichromate solution is too warm cooling by adding ;
ice will
prevent
this.
The gelatine runs while drying. or
is
tissue,
too
—
room
warm. when dry, refuses to lie Jlat on the The paper was dried too quickly, or at
box The
negative.
— Drying
too high a temperature.
63
Failures.
The paper the
sticks
the
to
negative.
Remedy, rub the negative and
—The
tissue,
pads are damp.
negative, or printing frame
tissue with talc.
Crystals form on the tissue in drying.
—Too strong
a sensitising bath.
The jilm frills. bility of
the film
— The ;
(b)
may be
causes
(a) insolu-
absence of the safe-edge, or
putting the safe-edge on the film and not on the glass side of the negative
;
(c)
allowing the tissue
to soak too long in the cold water before squeegeeing
to the temporary or final support
;
(d) too short
a time between squeegeeing to the support and developing
;
(e)
when developing tissue on a when the collo-
collodionised glass, frilling occurs
dion
is
torn or scratched so that water can get
underneath. Reticulation of the film. incipient
frilling,
—This
may be
said to be
and the same causes
may
be
assumed, with also the additional one (a) using the temporary support too soon after waxing, or (i) too freshly sensitised tissue.
Spots and streaks in the finished prints.
may be caused by
—These
(a) unequal coating of the tissue,
ib) air bubbles on the sensitising bath, or (c) solid
impurities in the bath
;
{d) air bubbles between
the temporary support and tissue is
— to remedy this
it
just as well to pass the squeegee over the tissue
under water just before applying to the support.
Carbon Printing.
64
The prints are too dark. (b)
— (a)
Over-exposure,
keeping the tissue too long between exposure
damp atmosphere.
and development in a cause
is (J>)
The
due to what has been called the con-
or continuating action of light, and this
tinuing
only occurs in a
damp
when exposed,
will
Carbon
atmosphere.
tissue,
keep for a long time
chloride of calcium tube.
in
a
This continuing action
of light has been suggested as useful in the case
of under-exposed tissue, as by leaving
it
a
little
time in the dark want of sufficient insolation
be compensated
may
for.
Over-exposure
is in effect,
over-printing with
of course, the
ordinary silver paper.
It
same
as
may be
remedied to some extent by using hotter water.
Some
have recommended soapy water,
operators
but this I have never chloride of
water,
and
remedies, best.
A
lime,
water
of
which
I
suggested
soda,
hydrogen
continually
;
but
applied
chlorine
of is
all
the
very large firm of carbon printers have an
arrangement which struck
prints.
Swan
hypochlorite of
peroxide
hot
tried.
me
as very practical,
and
saw made useful for forcing over-exposed Hot and cold water was laid on, as is now
80 often the case in modern-built houses, and to the respective taps
was affixed a short length of inch-
diameter india-rubber pipe. over-exposure
is
This in the case of
compressed at the end, and the
—
65
failures. tap turned on, and a fine jet of hot water
is
thus
The same device
is
used
directed on to the print.
with the cold water, and, whilst there, the operator
how
kindly showed
racter of the prints
easy
was
it
by using one or the other spray
Sulphocyanide of
in this way.
to alter the cha-
ammonium
has been
used for lightening over-exposed carbon prints, but so far
my
experiments have been merely to prove
that quite as
much may be
hot water as with a whereas, is
if
weak
judiciously done with
of sulpho.
solution
a strong solution be used, even cold,
impossible to regulate
The prints are
it
its action.
too light.
—Under-exposure
cause prints to be too light, though
it
will
may happen
that with negatives which are harsh and full of contrast the details in the high lights
away, whilst the shadows are too dark. this it
may be
may wash To avoid
advisable to expose the tissue to
diffused light for a short time, so as to sun as in ordinary silver printing
soften the results
;
down
this will of course
by preventing the high lights
from washing away and by a general
tint lowering
the tone. It is possible to intensify prints
by soaking
for
a few minutes in Nitrate of silver
...
Distilled water
2 grs. 1 oz.
Rinse under the tap, and flood with 5
Carbon Printing.
66
Pyrogallic acid
...
Citric acid
...
1 gr.
...
1
Water to
which
„
1 oz. is
added at the moment of using two or
three drops of a 20 per cent solution of nitrate of silver.
After intensification, the print should be
dipped in hypo, and well washed.
dipped into a iron, well
1
It
may
also be
per cent, solution of perchloride of
washed, and then into a weak pyro. solu-
tion (1 gr. to 1 oz. water).
The best
intensifier is to
dip the prints into a 20-gr. solution of permanganate of potash in
1 oz.
of distilled water,
dry, repeating if necessary.
wash well and
During development,
the use of cooler water will of course compensate to
some extent
away
A
so
much
for under-exposure,
by not washing
of the pigmented gelatine.
sparkling appearance in the print after final
transfer.
— This
is
caused
by too
little
pressure
during the final transfer. Prints developed on collodionised glass refuse leave the glass.
— The
fault lies in not
glass properly, or else polishing
oflP
too
to
waxing the
much wax.
RETOUCHING, SPOTTING, AND COLOURING
CARBON PRINTS. OarboD prints trooble
A
little
may
be spotted out without any
solution of
chrome or bichromated
Rough Paper Supports.
substratum for lantern
gelatine, such as used for a slides,
etc.,
67
should be mixed with the requisite
colour and applied with a fine brush.
If the re-
touching be done before the final transfer of the print, it will
show
less
be under the gelatine film, and thus
than
if
done
Colouring carbon
after.
with water-colours
prints
extremely easy, especially
if
a
little
is
semi-aqueous
and alcoholic solution of purified inspissated ox-gall or
Newman's
first.
sizing preparation be
To colour with
to apply
brushed over
it
oil-colours the best thing is
with a broad,
flat
camel's-hair brush a
solution of
180
Isinglass
grs.
Distilled water
10
oz.
Methylated
10
>?
spirit
Allow the isinglass
to soak for
two hours
in the
water, dissolve in a water bath, and then add the
alcohol with careful stirring.
ROUGH PAPER SUPPORTS. The use of rough paper as a support for carbon prints has grown considerably in favour, and therefore the following brief note
is
added.
The rough paper, Creswick, Whatman, or other kind should be pinned on to a drawing
boai'd,
and
a fairly large pool of the chrome gelatine poured
Carbon Printing.
68 on to
it,
and evenly distributed with a fairly ; the solution being worked
hog-hair brush the paper,
stiff
into
should be then allowed to set and
it
thoroughly dry.
This can be then used as the final
support, but in transferring the carbon image to
it,
the two must be put under a very heavy weight, so as to ensure complete contact.
MATT-SURFACE PRINTS. An
exquisite fine
by coating
matt
" smoothed "
collodion, allowing to set,
or
till
the surface
may
surface,
opal with
be obtained
enamel
plain
washing out the solvents,
no longer greasy, and then
is
transferring the print to this as a temporary support.
Bibliography of Carbon Printing. Traite EUmentaire et Pratiqiie de Photographie
au Charbon
By AUBERT. ipplications Nouvelles de la Photographie
Feitknecht, Douanne, 1891. Fotografia alle Polveri Indelebili.
au Charhon.
Price 25
Engel-
fr.
By Borlinetto.
Padova,
1869. Suite Applicazioni del Bichromato Potassico.
By Borlinetto
Padova, 1869. Photographie au Charhon.
Paris, 186G.
Instructions sur
By
Despaquis,
VEmploi du Papier au Charbon.
By Lamv.
Paris, 1878.
La
Photographie au Charbon. Paris.
Price 3
fr.
50
Le ProcSde au Charbon. illars,
Paris, 1886.
By Liebert.
Pub. by Tignol,
c.
By LiESEGANG. Price 2
fr.
Pub. by Gauthier-
69
Bibliography. Der Kohledruch. By Liesegang. Dusseldorf. Manual of the Carbon Process. By Liesegang.
London,
1878.
TraU6 de Photographie au Charbon.
By Monckhoven.
Paris, 1876.
Historique
au Charbon.
du Precede
By Monckhoven.
Paris, 1876.
La
Fotografia al Carbone.
On
the Reproduction of
&
Piper
Simpson.
Fotautuacografia.
By
By Montagna.
Milan, 1869.
Photographs in Pigments.
By
G.
W
London, 1867. Sobacchi. Pub. by Pettazzi, Milan, Carter.
and Lodi, 1883. Price 3 fr. Traiti Pratique au Charbon. By Vidal. Pub. by GauthierPrice 4 fr. 50 c. Villars, Paris, 1877. 1879
Das
;
Photographische Pigment-Verfahren oder der Kohlcdruck.
By VoGEL & Sawyer.
Pub. by Oppenheim, Berlin.
Price 2
m.
A B C
of Autotype Printing.
Pub. by The Autotype London, W.C. Ueber die Reaktionen der Chromsaure und des Chromate auf By Eder. Pub. by Knapp, of Halle-a.-S. Gelatine. Price 4 m.
The
Company,
New
Oxford
St.,
Besides the above most textbooks contain more or less full instructions for
working the process.
Considering the very brief time that has elapsed since this little
work was
written, there
is
not
much
of any great importance to add to this, the Second Edition.
The most striking point
is
the use and
preparation of the so-called Ladeveze and Artigue's processes of carbon printing, in which no transfer
70
Carbon Trinting. necessary, the print being developed from the
is
front by a mixture of water
and
sawdust
fine
;
and
a note upon Bedford's insoluble substratum.
ARTIGUE'S PROCESS Although not
made
new, having been actually
strictly
since 1884, this paper, Artigue papier velours,
has only lately sprung into prominence, at least in
England
;
and
interesting in that no transfer
it is
print being developed
required, the
is
from the
way, with sawdust
front, after printing in the usual
and water. Whilst no exact formulse are to be found for
making
this
to allow
any one, with but
paper, sufficient has been published secure
little practice, to
satisfactory results.
Smooth
rives paper is
damped and squeegeed
sheet of plate glass, and then coated as as possible with a 1*5 per
gelatine
;
or
damp
rives
to a
evenly
cent, solution of soft
paper
may
be allowed to
float
on a 4 per cent, solution of gelatine at 30° C.
This
is
allowed to
set,
and placed
in a dusting box,
such as used for photogravure, in which
powdered pigment box
is
in
a
fine state of division.
the
The
slowly revolved, the sides being knocked to
dislodge adhering lumps six
is
revolutions
the
box
;
and after about is
brought to
five or
rest,
and
Artigue's Process.
71
,
allowed to stand for about two minutes the glass plate with the
damp paper
and the powder allowed to minutes.
The
settle
for
glass is then removed,
examined to see whether
it is
;
and then
is
inserted,
about five
and the paper
sufficiently coated.
The whole of the surface should
be a uniform
showing no sign of white.
If necessary,
colour,
the operation
is
repeated,
covered the paper
In this state
will
it
is
tried, is to coat set,
indefinitely.
itself,
An
alternate
but which I have not
the paper with gelatine, and
when
blow the powder on by means of one of the
insufilators
To the
sufficiently
allowed to dry thoroughly.
keep
plan which suggests
and when
used for nasal diseases.
on
sensitise this paper, it should be floated
back, not film
side
down, on a 5 per cent-
of bichromate, care being
solution
taken not to
allow any of the solution to get on the coated side. It is
then removed, and pinned by means of drawing
pins to a film side
wooden frame or is
stretcher, so that the
underneath, but also so that there
free access of air.
is
Instead of floating, the bichro-
mate solution may be applied with a broad brush to the
back
;
but this
is
less convenient,
paper must be strained whilst this
The paper
is
is
as
the
being done.
printed the same as usual with a
photometer or actinometer, the rapidity of the paper being stated to be about three times that of silver
72
Carbon Printing. It is then
paper.
pinned to a
flat strip
of wood, or
held between two thin laths clipped together
wooden
clips,
by-
and developed by pouring on to the mixture of warm water, about
surface a thick
90° Fahr., and very fine sawdust,
being the best.
any convenient
fir or boxwood The sawdust should be placed in
an ordinary
vessel,
tin
coffee-pot,
with rather small spout, being very handy.
warm sawdust mixture
of gelatine and
abrades the particles
As the
flows over the surface
it
colouring
matter which have not been rendered insoluble
by the action of light appears in
;
and as soon as the picture
all its details it
should be well washed
with a spray of cold water, which arrests the developing action, and washes
sawdust.
If the exposure
away any adherent was not undertimed,
and development not carried too
far,
the resulting
print will possess fine gradations of half tone and full detail.
The hotter and thicker the sawdust mixture, the ; and it is frequently advisable to commence development with a thin greater the developing action
mixture of about 76° Fahr., and then to use a thicker and hotter mixture
subsequently.
It is
obvious that in the local application of sawdust
mixtures of various strengths and temperatures considerable
The
command
finished print
over results can be obtained. is
washed
in
alum
solution
—
73
Artigues Process.
and cold water, as for the ordinary carbon process,
The
and dried. for
prints
some subjects the
From
have a
fine
results are extremely fine.
the preceding description
this process
is
matt surface, and
it is
obvious that
applicable to almost any surface,
such as glass, plain or opal, ivory, wood, leather, or even fabrics.
M. Artigue's paper
is
sold commercially in France,
but there seems considerable difficulty in obtaining a supply, therefore for those selves, the
who
like to
make
above directions will possibly
it
them-
suffice.
Practically the above and the following process,
that of
M. Ladeveze,
is
nothing more than a revival
of the earlier processes, particularly that of Pouncy, described in the
commencement
Instead of gelatine, colloid,
gum
Choose clean and dirt
jam pot
is
used as the
and the following method of procedure
be found quite satisfactory
from
of this work.
arable
;
:
fairly
white gum-arabic, free
place the required quantity in a cup or
—the latter
is
the better
—capable of hold-
ing at least four times the quantity of water. if
will
gum
Thus
the vessel must hold The gum should be placed in and the same filled with water, stirred
4 ozs. of
be used
16 ozs. of water. the vessel,
rapidly once or twice, and the water poured
off.
This operation should be repeated, the object being to
wash away mechanical impurities
;
then
the
—
•
Carbon Printing
74
proper quantity of distilled water should oe added to
the washed gum, and the vossel placed in a
warm
and frequently
place,
whole
stirred, till the
Some fine meshed muslin should be well washed in warm water to free it from dressing, and then tied over the mouth of the jam
is
thoroughly dissolved.
pot,
and the solution of
The
gum
strained through
correct strength for the
gum
Gum-arabic Distilled water
..
...
.
mix
After solution and treatment
solution
it.
is
...
4
...
8 ozs.
in equal
:
ozs.
volumes
with a solution of
Potassium bichromate
...
1 oz.
...
10 ozs.
...
Distilled water Stir
the mixture thoroughly, and
colouring matter, described colloidal
on
pp.
mixture
then add the
which may be 34 is
and
now
35.
any of those
The pigmented
applied to the paper by
means of a soft badger hair softener and this should be worked over the surface of the paper, till on holding it up to the light it appears of a uniform tint all over. The pigmented colloid ;
matter
may
also be applied to the paper
by means
of an ether throat spray apparatus, and very fine
even coating
So
far the
is
thus obtained.
whole of the operations
may
be con-
——
Carbon Prints on Toned Paper.
75
ducted in diffused daylight, but the paper must, as in the case of ordinary carbon tissue, be dried in
Development may be
the dark.
the paper in
Or
rocking. or clipped
by placing
effected
a dish of tepid water, and gently this print
may be pinned
by the edges
to a board,
and
to a sheet of glass,
developed by the aid of a soft brush, or by using the spray apparatus. trol
over results
is
In this way very great con-
attainable.
CARBON PRINTS ON TONED PAPERS. Mr. G. H. James has suggested the use of toned papers as a
(Amateur
support for carbon prints
Photographer, January 4th, 1895). " Photographers have,
up
He
says
:
to the present time, but
accepted and shown one form of support for their pictures
— namely, a colour white.
their audiences that that,
We
now ask them
They have taught
and that only,
is possible.
to teach something
else
we
;
ask them to teach the public that the lights and
shadows in a picture depend upon each other, that they work by contrast, and that they do not depend
on white paper for the highest
pigment
for the darkest
light,
and black
shadow."
Mr. James goes on to recommend brown papers of various tints, and thus describes one of the cases for
many
which such toned supports are suitable
:
Carbon Printing.
76
" I passed over one of the
span onr London river as
many
it
bridges which
winds through the
great city, one evening, a while back, and a most pathetic scene caused
me
to stay a
noisy traffic had passed on quiet, save for the rolled,
murmur
way, and
The
all
was
of the waters, which
and turned, and eddied against their granite
walls, passing away, as
The sun had
feet.
its
moment.
set
seemed, right under
it
my
some short time, and threw
up, from below the horizon, that beautiful 'after
glow of golden-red, fading into yellow as '
it
mounts
high overhead. "
The mist rose slowly from the shadowed
and met that beautiful smoke cloud (of
all
river,
clouds
the most pathetic), throwing the distance into a
dim nothingness. A solitary barge, with its bargee, and as he floated slowly down with the stream ;
dipped his oar to guide his unwieldy rippling
caught
waters
little
from the sky above, as
light
beams if
to
of brightness to the quieting scene.
craft,
of
the
yellow
add a spark
The barge
passed on, and the evening faded into night, and I
was the gainer over the world
for having seen
a picture which perchance they did not miss. " It
is
pictures such as these
us with ordinary
present with
my
means
—
— impossibilities
to
I try to adequately re-
peculiarly coloured papers."
Whilst of course
it is
possible to transfer ordi-
—
77
Bedford's Insoluble SubstrafMm.
nary carbon tissue to toned papers, there must be
command
infinitely greater
over results by using
one of the above processes, Artigue's or Ladeveze's, as the choice of
pigment
entirely in the operator's
is
hands.
BEDFORD'S INSOLUBLE SUBSTRATUM. The
late
Mr. William Bedford, well known as a
worker of no mean
ability,
suggested the following
method of preparing an insoluble substratum for the preparation of glass plates, to which the carbon image
is
to be transferred
:
Take of hard gelatine 270
grs.,
and soak for an
hour in 3| ozs. of water, and melt by the aid of a water bath. cent,
To
this solution
chrome alum solution
add
sufficient
6 per
to thoroughly precipitate
the gelatine, which should then be collected, and the water allowed to drain, and then dissolve in 7
drms. of glacial acetic acid on a water bath, and
add gradually 17 for use.
ozs. of
methylated
spirit,
and
filter
The glass should be well cleaned, and
the solution of gelatine poured on just like collodion,
and the plate
set
up
to dry.
78
and Practical Notes on
Historical
the
HISTORICAL AND PRACTICAL NOTES ON THE SIMPLE CARBON PROCESS WITHOUT TRANSFER. Reprinted from,
The Amateur Photographer
of March
6t/i
a-nd
20M,
1896.
The following chapter will give a general idea of the field covered by the Non-Transfer Carbon Process but the reader intending to take up this method is referred to the book entitled, "Aquatint, or Gum-Bichromate Process," by Messrs. Alfred Maskell and Robert Demarchy, now in the press. ;
That the simple non-transfer carbon process
most perfect gradation of
give, not only the
but the most minute definition
even for
subjects, has been fully recognised
at least thirty-eight years, in
we may quote the no
less
will
tone,
small
by experts
for
evidence of which
following, written in 1858, by
an authority than Thomas Sutton.
Speak-
ing of the method originally due to Poitevin, but
independently discovered and introduced by Mr.
Thomas Pouncy, of Dorchester, Mr. Sutton
writes
"Notes," 1858, p. 185): "It will give and does give as good definition and half-tone as (Sutton's
any other process upon plain paper, and
it
will
prove to be the very thing most ardently wanted
by sensible photographers, and when into operation it
of printing."
will
In the
supersede first
issue
all
fairly
brought
other
modes
of Mr. Sutton's
Simple Carbon Process without Transfer.
"Notes"
we
for the following year (1859, vol. iv., p. 7),
very concise
find
method which this chapter
;
by cold water tions
than in
as given
directions
scarcely differ
working the
for
from those given
more emphasised in these direcThe following are particulars ours. is
by Pouncy
in 1859,
descriptive
but with such slight
detail
the general
as
knowledge of our time renders admissible
:
1.
Saturated solution bichromate of potassium.
2.
Gum
Mix
of consistency of thin varnish.
Vegetable carbon ground with water, by muller on (Mr. Pouncy appears to have inpaint stone. tended this to be quite fluid and even thin.)
together equal parts of
1
and
2, also suf-
volume,
ficient quantity, say, one-eighth the total
of No.
in
only the convenience of development
curtailment in
3.
79
3.
Stir
and strain through
finest muslin.
Coat paper freely with a broad camel's-hair brush, laying on a copious supply over the whole surface
;
allow about two minutes for the paper to absorb,
and remove the superfluous liquid thus painter's four-inch hog's-hair softener,
;
take a
and work
it
regularly over the paper, with an alternate vertical
and horizontal motion,
smooth and even completed by the
until the
whole presents a
surface.
The drying may be
The
directions for exposure
fire.
need not be reproduced, but Mr. Pouncy's instructions
for
development with cold water we give
80
and Practical
Historical
verbatim
:
"
On removal from
l^otes on the
the pressure frame,
lay the picture, face downwards, in a flat dish of clean water, taking care to exclude all air-bubbles.
be found advisable to place some slight
will
It
weight upon the picture, that the back
may
thus
be retained wholly under water and kept free from
The time of soaking may be roughly stated though in some cases of over-
stains.
at
minutes
five
;
exposure pictures days,
may remain
and come out
in
the
equally good.
water for
may
It
be
observed here, that when the high lights of the picture appear soon after immersion, the operator
may
conclude that he has under-exposed, or that
his
gum-arabic
be
corrected by
is
too thick
the
bichromate solution.
;
which
addition
of
must more
little
It is preferable to find the
picture developing evenly all over.
must be
last fault
a
set in a separate dish,
and
Each
picture
finally
washed
under a gentle stream of clean water from a tap or
Should the margin be not quite
a lip cup.
clean, pass a camel's-hair
and,
if
brush carefully over
it,
needful, over any parts of the picture, be-
fore rinsing at the tap
;
but the best results are
obtained by soaking only."
«
*
*
•
•
Whilst recently Mr. Alfred Maskell has worthily
drawn attention
to this exquisite process, valuable
alike for its results as for its adaptability to the
Simple Carbon Process without Transfer.
we
picture-maker's purposes, for
more
precise
and
feel that there is
81
room
explicit details of precedure
than have been hitherto given, and with this view the present chapter
The
is
written.
directions, moreover, include the older
and
newer modifications, and such information as shall enable workers to select which
may be
best adapted
to their special requirements. It in
should be borne in mind, however, that, as greater rapidity
other processes
attained with compromise of
present process those
who
some
is
often only
sort, so in
seek greater sensitiveness
by the use of acid or by use of old
must be prepared
occasional
for
the
solution,
failure
due to
insolubility.
The
new carbon
process
perhaps the easiest
and
without
least
transfer
expensive
of
is
all
printing methods for an amateur, and offers especial attractions to those
who aim
image more directly under
to bring the resultant
control, as is so desirable
and essential in the higher applications of photo-
graphy to
Not only does the material
artistic ends.
which forms the base
lie
open to choice by the
worker, instead of being what the manufacturer
pigment
prefers to use, but the
of equally free choice
may be mixed
;
indeed, various pigments
so as to give
local variations in tone
a matter
itself is
any
may be
tint desired,
and
realised quite easily
6
82
IJistortcal
and Practical Notes on
by those who wish so carbon process lends
the
to do.
In addition, the new
itself in
an exceptional manner
to local treatment in development.
The new carbon process excepting so far as is
popularly and generally
and carbon
process,
ments use
— may
—the
is
prominent
new
the
other sense than that into
known
as the carbon
most permanent of pig-
be used should the worker desire to
Neither
it.
not a carbon process,
is
a near equivalent of what
it is
it
process "
new "
in
any
has been recently brought
notice.
M. Rouille-Ladeveze,
to
whom
is
due much of
the credit of bringing the method into general use
by the issue of
his little book,* published
two years
ago, thus deals with the question of novelty
" Is the process
new
?
" asks
" No," he answers, " for
it is
:
M. Rouille-Ladeveze. the gum, bichromate,
and pigment method of Poitevin, and dates from the
first
photographic period."
Several early workers practised the carbon process
without transfer, and
among these may be mentioned
Mr. J. C. Burnett, Mr. Thomas Sutton, and Mr.
John
Pouncy,
chiefly
these
gentlemen
between 1855 and 1860.
having
worked
The old notion
was that an ideal gradation or half-tone must be a smooth, structureless •
*'
S^pia-Photo
Ladeveze.
et
tint,
such as was given by
Sanguine-Photo,"
par
A.
Paris, 1894, Gauthier-Villars et Fils.
Rouille-
Simple Carbon Process without Transfer.
Swan (1864) and
the transfer carbon process of its
simplification
83
by Johnson (1869)
;
hence these
methods soon drove out of use the easier non-transfer methods is
in
which the sensitive pigment mixture
simply spread upon that paper which
is
to be
Indeed, the earlier
the final support of the picture.
writers scarcely admitted that a gradation of tone in stipple deserved
the
name
of half-tone, hence
the contention that in the carbon process half-tone
can only be obtained by the process of detaching the film from the unexposed surface.
The method of simple carbon practised,
may be summarised
printing, as
follows
as
:
now
—The
ground pigments, as sold in tubes or pans for the use of water-colour painters, are mixed with a
mucilage of gum-arabic and a certain proportion of a soluble bichromate.
This mixture, which must
be quite thin and almost like an
now spread uniformly over a very large and soft brush
artist's
wash,
is
the sheet of paper with ;
but the coating must
not be nearly so dense as to prevent all light from
reaching the fibre of the paper. dry,
is
The paper being
exposed under a negative, and then no
further treatment
is
required but development in
water, which water should ordinarily be
warm, and occasionally quite
hot.
somewhat
When, however,
exposure
at
the back, or through the paper,
adopted,
as
recommended by Mr.
J.
is
C. Burnett
84 in
and Practical Notes on
Historical
the " Journal
of
the
Photographic Society,"
the
November, 1858, a thicker film of the mixture should be used, and
smooth paper tint
sensitive
a thin hard and
employed an even gradation of-
is
practically
if
without
may
grain
be obtained.
Thus the two non-transfer carbon processes can give the widest variation in style or manner.
This
chapter refers only to that method in which the coated side of the paper
The working to master,
is
are
details
exposed.
by no means
difficult
and by no means burdened with exact
rules or recondite technical conditions
but there
;
must be carefully and trouble from the varying
are a few technical points which
attended to
if failure
sensitiveness
and untoward
insolubility of the film
are to be avoided.
When a
the exposure
rough-surfaced
is
made from
to be
paper should
rendering of full
the front
be used, as the
depends essentially
gradations
upon the roughness of the paper.
The various
drawing papers give a wide choice, and the choice
may be quite free between thick and thin paper. The various Dutch hand-made papers of Van Gelder are excellent as regards chemical^ purity, and afford a wide choice of texture.
very low, as compared papers.
Moreover, the prices are with high-class drawing •
The wholesale London agents are Messrs.
Grosvenor, Chater,
&
Co., of 68,
Cannon
Street,
—
85
Simple Carbon Process without Transfer.
who
specimen book.
a
issue
The kinds most
and 83, brown tint, heavy, and coarse grained also Nos. 1 and 12, white
desirable are Nos. 51, 52, soft,
;
and coarse
The
in texture.
sensitive preparation is
made
as follows
:
A. Clear white
gum
4 oz.
Water Soak
till
6 dissolved,
and squeeze through
„
fine muslin.
B.
Bichromate of potassium
1 oz.
Water
9 „
In a room illuminated by yellow light,
A
volumes of
and B, then
stir
in
mix equal
such
moist
water-colours as will give the required tint.
The
should ordinarily be such that
when
colouration
the preparation
is
washed over the paper with a
broad camel's-hair brush the tint hardly appears full
in other
;
words, the white and texture of the
paper should show through. paper
less
pigment
will
For a very rough
be required than for a
less
rough paper. There
is
a wide choice of pigments open to users
of this process, but indigo
is
best avoided, as
it
considerably lessens the sensitiveness of the mixture,
and ultramarine
reasons able
;
is
not allowable for chemical
but Prussian blue and cobalt remain avail-
among
the blues.
Indian ink or lamp-black
86
historical
and Practical Motes on
alone teod towards a greenish tint
the
which can,
;
however, be modified by the addition of cobalt blue. Sepia, the earth colours, and the all
madder lakes
are
very suitable.
The paper having been sponged on both to stretch
sides
pinned down to a board by one
is
it,
corner and rapidly brushed over with the sensitive
mixture by means of a broad camel's-hair brush.
The mixture should be
in a flat dish close at hand,
and before the brush
is
brought to
any solution which may tend to is
the
paper
fall off in
struck off on the sides of the dish.
drops
All brush
motions on the paper should be parallel, and in one direction, the same
be aimed
i.e.,
path. at,
the brush
must not return along
Quick work and even coating must
and with a very
practice
little
it is
easy to obtain almost complete uniformity.
The best method of drying night in a room where a day, but the paper fire
;
may
may
fire
is
to
hang up over-
has burned during the
be dried rapidly before a
better only a glowing
fire,
as a flaming fire
fog the paper.
The exposure papers,
is
longer than for ordinary silver
about double
;
and can be most readily
judged by looking through the paper.
The coating
should never be dense enough to materially affect the translucency of the paper, and consequently the faint
image formed by the darkening of the
bi-
Simple Carbon Process without Transfer.
gnm
chromated
can be sufficiently distinguished
to enable the exposure to
be judged.
should be just visible.
in the shades
an actinometer
87
The details The use of
however, preferred by some.
is,
Developing the print
a very simple matter,
is
a tin tray somewhat larger than the print, a plate
down
of metal, or a board sloping gently tray,
into the
a few soft brushes, and a small tin coffee-
pot being all the appliances required. is first
soaked in cold water, and
its
The print
behaviour will
soon give the clue to the next step, as in the event of under-exposure
wash
oft,
water
is
coffee-rpot
the colour will soon begin to tray
especially if the
;
rocked or the
the print for this purpose resting
may
alone
the
finish
on
In some cases cold
the sloping board or plate.
water
is
repeatedly poured on the print from the
development,
but
ordinarily the temperature will have to be raised to
about 90° F., by the gradual addition of hot water.
In other cases
much
and as regards
hotter water
local
may
be required,
treatment, the use of the
steam from the cofiee-pot and the
soft
brushes
The former gains in detergency by the height from which it flows, and should be obvious
enough.
the brushes should, as a rule, only be used on the face
of the
When line,
it is
print
while
desired to
well
wash
oft"
covered by water. to
an approximate
a small stream from the coffee-pot, held at
—
88
Historical
and Practical Notes on
arm's height, should be used
the
and a small
;
strip
of metal held at an incline half an inch over the line to be protected, will be
found useful.
Those who have not been accustomed to carbon
upon the use
printing or other process depending
somewhat put out by the widely varying sensitiveness of the film, and when
of bichromate, will be
the film
but slightly sensitive they will probably
is
obtain hard prints with but
and when the film
is
little
gradation of tone,
highly sensitive they will
obtain soft prints and full gradation prints
and
gradation
full
but the soft
;
depend rather on the
exposure being suitable to the condition of the sensitive film than on the particular to
greater
give
sensitiveness
;
a
means adopted quickly
dried
sample of the pigmented paper, prepared with a fresh sensitive mixture, will
of sensitiveness, and
quarter of an
negative
may
be at
minimum
hour in sunshine with an average
or very considerably
;
its
require an exposure of a
mented paper has been highly
more
dried.
if
the pig-
If this paper
be kept in the dark, and samples be tried from time to time,
will be
it
found to increase in sensitiveness
until insolubility sets in
weather
is
the weather in ^I.
and the prints refuse
to
may happen in a few days if the warm and damp, or not for months if
This
develop.
is
cold and the paper
is
kept dry
Marion's preservative receptacle, containing
—
Simple Carbon Process without Transfer. chloride
calcium,
of
much used about revived as a
Long
example, an
for
half a century
appliance
and now
ago,
means of preserving platinotype paper.
contact of
tlie
gum
bichromate in a moist
state favours that preliminary in
89
change which results
greater sensitiveness and consequent obtaining
of better half-tone with a short exposure
;
but
expedients for obtaining greater sensitiveness volve
Dr.
an increased risk
Holman,
in a
of
all
in-
general insolubility.
communication to the French
Photographic Society, about three years ago, advocated keeping the sensitive mixture for twenty-four
hours before using, and quite recently M.
Demarchy
suggests the use of a weak acid in the bichromate
Both these expedients have been known
mixture. to
workers with bichromated colloids since the time
of the Pretsch process in 1853.
The mixture
as advocated
by Demarchy
thinner than that given above, and suitable for those
who wish
it
is
is
to prepare a stock of
Being
paper overnight for use in the morning. thin, the
mixture
is
also
much
specially
more easy
to
wash over
the paper.
According to Demarchy's method, the solution A, as given above,
is
replaced by the following
A Clear white Citric acid
Water
gum
:
bis.
4
oz.
1
„
15 „
—
90
Ozotypd.
OZOTYPE. In issuing the it
Cakbon Printing take notice of a new method
fifth edition
becomes necessary to
of
of printing in pigment, a process brought to the notice
of the photographic world by
Manly, the principal purpose of which
Mr. Thos. is
shall constitute an auxiliary to the ordinary
Process.
that
it
Carbon
At the Royal Photographic Society's ExManly showed a few examples
hibition in 1898, Mr.
name of Ozotype, but it March of the present year that any
of his process under the
was not
until
communication as
to the nature of the process
was
made, when Mr. Manly read a paper and demonstrated his process before the Royal Photographic
Society on
up
March
28tb, and this paper constitutes
to the present the only authoritative information
on the subject, so that our best plan will be to give
Mr. Manly's paper in
full,
which
Ozotype with Carbon Tissue
:
is
as follows
:
A New Method
OF Photographic Pigment Printing without
ACTINOMETER, TRANSFER OR SaFE EdGE.
My
communication to-night
will deal with only
a part of the uses to which a
surface giving a
photographic image in a high metallic oxide can be put.
91
Ozotype. It is
my
intention to describe
most important of in
its
I consider the
uses, namely, its
pigment printing, which
artistic
what
is to
employment
my mind
the most
method of making pictures by photography. assume that
I will
all or
most of you are familiar
with the present process of carbon printing, and will
make
process
;
1
only one remark with regard to that
namely, that
thirty years,
has been practised for over
it
and during that period no fundamental
improvement appears
Amateur and
have taken place.
to
professional
photographers alike
would heartily welcome a method of pigment printing where the image
plainly
is
visible
during
exposure, and at the present time they feel certain
misgivings required in
contemplating
in
the
extra
making a reversed negative
work
or in going
through a second process in order to correct the
image which, unfortunately, takes
reversal of the
place in the present bichromated gelatine process.
The process
have the honour to bring to yoni
I
notice to-night
overcomes both these
and many others, and
it
perhaps revolutionary in I
may
be excused
Introduction
to
series of lectures
*'
if I
is
its
difficulties
so unconventional
and
conception that I hope
quote an extract from the
Professor
Meldola's
invaluable
on the Chemistry of Photography.
He says, in speaking of photography in general, am disposed to believe that the art is in danger
I
92
Ozotype.
of outstripping the science. aifairs
immediate practical
many branches
a state of
is
made.
utility is
of industry which are
in this country because they go. on
This
which we often witness when a discovery of There are
now
suffering
have been allowed
to
from the time of their foundation without any
attention being
paid to the
underlying them.
It has
principles
scientific
been found by a long
course of experience that certain
results
obtained in a particular way, and that
mode
can be of pro-
cedure has become stereotyped into a kind of article of faith.
In
ascertain
why
such cases no trouble the particular
leads to the desired result
stripped the science
.
.
.
mode
—the
is
taken to
of operation
art here has out-
and we are running
into
the danger of seeing the industry taken out of our
hands by more
scientific competitors
stereotyped formulae,
and who
trouble to investigate the
why and
who have no
have
taken
the
wherefore of the
different steps in their process."
How
severely true these
observations are, es-
pecially in regard to certain branches of British
industry. I
should be very sorry to see the art of photo-
graphy outstrip the
science.
Work
that
is
not
produced entirely by the hands must necessarily be based upon certain physical or chemical reactions
which should be manifest to the worker
if his
aim
—
93
Ozotype. is
to excel.
and as
It
wonld be very desirable
scientist could
fellow
be induced to regard one another
workmen
The
world.
the artist
if
in the great
scientist
workshop of the
showing how the laws
of
nature could be so adapted that the genius of the artist
could more readily produce a thing of beauty.
Now
let
us consider the subject before us.
The bichromate
or
salts
chromic acid are the
light sensitive agents in this process.
A bichromatic
salt is
amount of base chromic acid
is
chromic acid with a small
and the action of light upon
;
:
CrA + Cr.Oa
+
light. O3.
So yon see the molecule of chromic acid into
a
refractory
oxide
chromium and oxygen, which liberation is
in
probably what is
is
is split
sesquioxide
called at the
moment
of
a very active state, and which
known
as ozone.
up of its is
Now the question
what becomes of the O3 which light has thrown It must have been drawn away by some other
oflf?
attraction It is
which
my
is
ready to combine with
belief (and 1
am
it.
quite ready to be con-
vinced by any better theory) that in the ordinary carbon process where the chromic salt ated with the gelatine, the nascent liberated
is
incorpor-
newlyoxygen combines with and changes the or
94
Ozotype.
and the
nature of the gelatine,
chromium structure
action
formed
at
of
same
time
to
resist
the prolonged
and strength
of
sesquioxide
the
gives
it
hot water when minute quantities of
gelatine are dealt with.
In Ozotype we in
another way.
mate
salt
therewith.
make the active oxygen do work We make a solution of a bichro-
and a manganous
The manganous
salt
and coat paper
salt is, in
this case,
the sensitiser, being the agent which receives the
In the bichromated gelatine
eliminated element. process the gelatine
is
the sensitiser.
of light upon a surface consisting of a
and a bichromate
salt
The
action
manganous
would be that the eliminated
oxygen would enter the molecule of the manganous salt
and decompose
it,
producing an' image in a high
oxide of manganese, namely, the sesquioxide or
manganic
oxide,
manganese
dioxide.
perhaps
partly
consisting
of
So you see we have captured our active oxygen which has been placed by light in the position we desire,
and we have locked
the same
it
up
for future use
;
at
time we have made our image visible
and insoluble, so that
all
our unchanged salts can
be easily washed out of the paper. It
must be borne in mind that only the acid compounds of chromium can be
light-sensitive
used.
If the
neutral
chromates are added to a
95
Ozotype.
manganous
decomposition immediately takes
salt,
place, so there
must be an excess of acid
in the
sensitive solution.
Having now produced what print of a light
"
How
are
brown
we going
may call
I
manganic oxide up the pigmented
the
to get
constituting the image to take " gelatine of our tissue ? I will
a pleasing
colour, the question arises,
show you a homely but very interesting
experiment.
We
have heard a good deal lately of
the policy of pin-pricks
—
I
am
going to show you
an experiment in needle-pricks.
I
have here some
carbon tissue which I have soaked in a 2 per cent, solution of acetic acid,
and into
this 1
have stuck
some needles and have allowed the gelatine plunge
I will
it
into hot water
and develop
will see that a ring of insoluble gelatine is
round each needle.
to dry.
it.
You
formed
The iron has been oxidised and
the contiguous gelatine has been rendered insoluble. If
we
is
the same.
use high metallic oxides the
The gelatine
is
phenomenon
changed and has
been rendered comparatively insoluble.
If
we dip
our carbon tissue into a dilute solution of acetic acid
and squeegee
print,
we
it
on to our manganic oxide
shall get a picture
;
but the very minute
portions of gelatine constituting the details will be
washed away by the continued action of hot water.
We
must, therefore, seek for something that acts
—
96
Ozotfjpe.
in the in the
same manner
as the sesqiiioxide of
chromium
ordinary carbon process to which
already
referred
— something
I
that will give
have sub-
stance and strength to the changed gelatine, so that it
may
be able to resist the rough treatment of
development in hot water.
For
this
purpose we
have at our command some very useful compounds, viz.,
the
now widely-used phenol-derived photo-
graphic developers, such as hydroquinone, pyrocatechin, metol,
pyrogallol,
which have strong
etc.,
tanning properties in the presence of oxygen.
Very
small quantities of such substances added to about one-half per cent, solution of acetic acid will
make
we can immerse our carbon
tissue
a bath, in which
and lay
it
down on our print, and feel
sure that if the
proportions of the ingredients and the
amount of
oxide in the print are correctly judged, we shall
produce a picture possessing
all
the half tones and
details of our negative.
For want of a better term I will refer to the which we immerse our carbon tissue,
solution into
as the acetic solution.
For well printed proofs from good negatives, find the following formula useful
Water
1
:
,000 cubic centimetres.
Glacial acetic acid
...
3 to 5
Hydroquinone
...
i to 2
„
grammes.
„
1
—
V7
Ozotype.
A
variety of effects
may
be produced by modify-
ing the quantities of the ingredients
—the
addition
of acetic acid in very small quantities producing contrast,
and increase of hydroquinone giving
or
effects,
may
hydroquinone
the
soft
be decreased
instead of increasing the quantity of acetic acid and so on.
The only apparatus necessary
is
:
Developing tank with a small gas or such as
is
oil stove,
used for a kettle.
Squeegee. Porcelain dish for acetic solution.
Flat surface oi papier mache or other material for squeegeeing.
Dark room pins with which up to dry.
A
to
hang the prints
piece of zinc, a little larger than the print, to
form a
stiff
backing during the opera-
tion of development.
The method of procedure
is
as follows
:
—
Print until the details in the high lights are visible.
The
sensitive paper
quick in printing,
is
same
being, I should say, about the
platinotype
paper,
rapidity as
but of course you
all
know
everything depends upon the opacity of the negative.
The progress of printing out
visible, so that
When
nothing
the proof
is
is left
is
distinctly
to guess-work.
printed,
it
may
be washed 7
98
Ozotype, or deferred until the
once,
at
printing
day's
is
over.
The washing
very easy and certain, as the
is
colour of the water
When
the water
usually
unchanged
quite
a guide in this operation.
quite colourless, the prints are
is
About three changes of water
ready for drying. are
is
sufficient
now immersed under
is
to
The carbon
salts.
dissolve
out
the
cut to size,
tissue,
the surface of the acetic
and allowed The temperature of this
solution contained in a porcelain dish,
remain one minute.
to
solution should
not be less than 65° Fahrenheit
and not higher than
75°.
The print
is
then plunged
under the surface of the same solution and brought into contact with the gelatine surface of the carbon
tissue
and both are drawn
and squeegeed down upon a
out, clinging together, flat surface.
They
are
then surface-dried between blotting paper and hung
up
to dry.
When
carbon tissue
is
dry, the print with its adherent
placed in cold water for not more
than half-an-hour, when This
is
it is
ready for development.
performed by taking the print out of the
cold water and plunging
it
in water at a tempera-
ture of about 102° to 105° Fahrenheit, and letting it
remain for about one minute, when the backing
or the tissue can be removed.
This operation differs somewhat from the ordinary
carbon process, inasmuch as the backing requires
99
Ozotype. to be peeled oiF with gentle force
the backing
is
;
but when once
got rid of the developnient proceeds
upon the same
lines
as
the ordinary carbon
in
process.
There are various methods by which we could
make
the process of development easier, for instance,
we could add magnesium sulphate, calcium
chloride,
barium chloride or glycerine to the acetic solution, without in the least affecting the action, and the tissue
would not require
so
much soaking
in cold
water, and the backing would be less difficult to
remove. I
am
sorry that
of leisure time at to
owing
my
make many experiments, but
have been unable
the subject
an important and interesting one that anybody's while to
make
amount
to the very small
disposal, I
is
it is
such
worth
further investigations into
the oxidation of gelatine.
We
have in this process
the
same chemical
actions occurring as in the bichromated process, the nascent
of
the
gelatine
in
gelatine
oxygen changing the nature both
cases,
and
a
phenol
hydroxide enabling the oxidised gelatine to resist the action of hot water in the same sesquioxide of
chromium
in
the
way
present
as the
carbon
process.
The advantages of such a method as I have brought to your notice are obvious.
100
Ozotype.
The
sensitive surface
is
on the paper which
form the permanent support of your picture. progress
can be
of printing
and
observed,
will
The the
print-out image in point of visibility comes next to that obtained
print
is
washed
The printing will
from chloride of it
indefinitely.
and the sensitive paper
rapid
is
After the
silver.
keep almost
will
keep good for three months or more without
any special precaution.
may
I
say that I have
obtained a print on paper that has been kept in
a sensitive condition for eleven months.
pigment months
washed your
you
after
You
print.
have
is
You
necessary.
can
and
get no reversal of the
image in regard to right and edge
You
obtained
left,
and no
safe
can alter the character
of your print by varying the quantity of the ingredients in the solution in which you soak your
carbon tissue
;
and
in the operation of
development
your hands and fingers do not come in contact with
Owing
a deleterious solution.
to the carbon tissue
being in a soluble condition the squeegeeing
is
a
very easy operation, and for the same reason air bells imprisoned
between the print and tissue do
not produce blisters.
In the selection of paper for sensitising, I find single
transfer
paper
sized papers, such
ridge
as
work admirably
excellent,
and
moderately
Whatman, Arnold, if
or cart-
the washed print be coated
101
Ozotype.
with a two per cent, solution of soluble gelatine,
show
the result being that only the deep shadows a
gloss.
Thickly gelatinised baryta
paper
can
be sensitised, and of course the details on
also
such a surface are very delicate. In working this process almost any effect can be obtained.
If
you admire the green bichromate style
you can print on rough paper by adding a certain quantity of calcium chloride to the acetic solution, you will get that " running down " effect which
some
As
artists
commend.
the gelatine
is
not so refractory as in the
present carbon method you can easily put in clouds if
you have an
wash away high
lights.
you can locally
gelatine with hotter water to If
solution
cent,
artistic finger, or
obtain
you want deep shadows, a one per
of
alum brushed over the portion
of your picture which you wish to preserve will
give the desired effect.
am
I
week
my
sorry
I
have only had a few hours a
in the evening to devote to the subject, yet
experiments, conducted in
room
in
special apparatus at
several remarkable
quite little
my own
little
dark-
a crude and homely fashion, with
my command,
no
have revealed
chemical actions which have
fascinated me, and when I have gained a more knowledge of the manipulation than I
possess at present, I
am
confident that a particu-
—
102
Ozotype.
larly easy
and certain process
graphic pictures in
producing photo-
for
be placed
artist's colours, will
within bands.
Some
questions and
comments which were
by some of the members present
offered
the above
at
some further hints from the lecturer. The proportion of manganous salt to bichromate
lecture elicited
for the sensitising solution is as follows
Manganous sulphate
...
Potassium bichromate
14 parts
...
...
may
Cobalt
may
,,
„
be substituted for manganese, but
gave a less visible
solution
7
100
...
Water
it
:
The
image.
sensitising
be applied by a brush or by im-
mersing the paper.
The two per
cent,
gelatine
solution
necessary with rough i)aper, and after
dried;
the its
is
is
only
to be applied
manganic print has been washed and object being to secure the adhesion of
the carbon tissue
;
in
such a case the print should
be rather darker than usual.
As
to developers, metal has been found to
work
very well, also pyrocatechin, but Mr. Manly does not approve of the amido derivatives because of their liability
to produce colour.
Pyrogallol has
103
Ozotype. a fault which, however,
and that
some
in
is
that
it
may
be turned to account,
paper a
stains the
buff,
and
cases has been wonderfully successful in
imparting to the platinotype print the appearance of an old print or engraving.
Chromic acid may be substituted It
for bichromate.
has been remarked that one drawback to the
ordinary carbon process was the greasy appearance of the surface of the print, especially in the shadows,
due to a great extent to the excess of gelatine over the pigment in the tissue
was asked
if
;
and Mr. Manly
he had tried a tissue less thickly
coated with gelatine than that ordinarily obtainable
?
In reply, Mr. Manly said a thinly coated tissue
would be preferable, and excessive prints
the
proportion
of
it
must not contain an
He
pigment.
thought
might be made upon opal by gelatinising
opal
before
sensitising.
To remedy under-
exposure he would wash the print and treat
it
with a solution of chloride of lime, which would probably convert the sesquioxide into oxide yielding a acetic
solution
stronger print
;
or
might be employed.
were amenable to reduction by
a
higher
a stronger
The
prints
local treatment with
hotter water.
Whilst of course Mr. Manly has protected
his
process from piracy by provisional patent, and will
104
Ozotype.
in all probability at a later date take steps to place
the manufacture of
the
manganic paper
commercial basis in order that a popular price, yet in the
it
may
on
a
be sold at
meantime he
is
very
willing to help those interested in experimenting
with the paper, and will be glad for amateurs and
make every use of the formulse make and scrutinise the that the process may receive the full
investigators to
he
published and
has
paper in order
numerous experiences.
benefit of
The process
Manhfs
is
book
fully dealt with in Mr. Thomas
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